One Wall, One Work Archive
Wall Drawing #815
First drawn by: Anders Hagman, Barbara O’Brien, Rose Olson
First installation: Montserrat College of Art Gallery, Beverly, Massachusetts
This installation size: 96 x 128 inches (243.8 x 325.1 cm)
Signed on accompanying certificate
(Inventory #30329)
Exhibited: March 29, 2019 – June 15, 2019
Krakow Witkin Gallery continues its ongoing relationship to the work of Sol LeWitt. First exhibited in the gallery in 1971, LeWitt’s work has played a steady and strong roll in the gallery’s programming. Along with regular solo exhibitions and inclusions in group shows, Krakow Witkin Gallery has published the catalogue raisonné of LeWitt’s prints online (www.sollewittprints.org). Furthermore, the “One Wall, One Work” series was inspired by LeWitt’s final wall drawing for the gallery. A program that has now been active for well over a decade, it is important to periodically exhibit others of LeWitt’s wall drawings. For this iteration of One Wall, One Work, the gallery presents Wall Drawing #815, a work that has not been photographed previously.
Wall Drawing #815 harkens back to one of the earliest Wall Drawings – Wall Drawing #51 (All architectural points connected by straight lines) which was made with blue snap lines. Like its predecessor, Wall Drawing #815 can be installed on any size wall, but #815 consists of thirty randomly placed points marked by nails, connected to one another via white string, all on a black wall.
First drawn by: Anders Hagman, Barbara O’Brien, Rose Olson
First installation: Montserrat College of Art Gallery, Beverly, Massachusetts
This installation size: 96 x 128 inches (243.8 x 325.1 cm)
Signed on accompanying certificate
(Inventory #30329)
Exhibited: March 29, 2019 – June 15, 2019
Krakow Witkin Gallery continues its ongoing relationship to the work of Sol LeWitt. First exhibited in the gallery in 1971, LeWitt’s work has played a steady and strong roll in the gallery’s programming. Along with regular solo exhibitions and inclusions in group shows, Krakow Witkin Gallery has published the catalogue raisonné of LeWitt’s prints online (www.sollewittprints.org). Furthermore, the “One Wall, One Work” series was inspired by LeWitt’s final wall drawing for the gallery. A program that has now been active for well over a decade, it is important to periodically exhibit others of LeWitt’s wall drawings. For this iteration of One Wall, One Work, the gallery presents Wall Drawing #815, a work that has not been photographed previously.
Wall Drawing #815 harkens back to one of the earliest Wall Drawings – Wall Drawing #51 (All architectural points connected by straight lines) which was made with blue snap lines. Like its predecessor, Wall Drawing #815 can be installed on any size wall, but #815 consists of thirty randomly placed points marked by nails, connected to one another via white string, all on a black wall.
First drawn by: Anders Hagman, Barbara O’Brien, Rose Olson
First installation: Montserrat College of Art Gallery, Beverly, Massachusetts
This installation size: 96 x 128 inches (243.8 x 325.1 cm)
Signed on accompanying certificate
(Inventory #30329)
Exhibited: March 29, 2019 – June 15, 2019
Krakow Witkin Gallery continues its ongoing relationship to the work of Sol LeWitt. First exhibited in the gallery in 1971, LeWitt’s work has played a steady and strong roll in the gallery’s programming. Along with regular solo exhibitions and inclusions in group shows, Krakow Witkin Gallery has published the catalogue raisonné of LeWitt’s prints online (www.sollewittprints.org). Furthermore, the “One Wall, One Work” series was inspired by LeWitt’s final wall drawing for the gallery. A program that has now been active for well over a decade, it is important to periodically exhibit others of LeWitt’s wall drawings. For this iteration of One Wall, One Work, the gallery presents Wall Drawing #815, a work that has not been photographed previously.
Wall Drawing #815 harkens back to one of the earliest Wall Drawings – Wall Drawing #51 (All architectural points connected by straight lines) which was made with blue snap lines. Like its predecessor, Wall Drawing #815 can be installed on any size wall, but #815 consists of thirty randomly placed points marked by nails, connected to one another via white string, all on a black wall.
First drawn by: Anders Hagman, Barbara O’Brien, Rose Olson
First installation: Montserrat College of Art Gallery, Beverly, Massachusetts
This installation size: 96 x 128 inches (243.8 x 325.1 cm)
Signed on accompanying certificate
(Inventory #30329)
Exhibited: March 29, 2019 – June 15, 2019
Krakow Witkin Gallery continues its ongoing relationship to the work of Sol LeWitt. First exhibited in the gallery in 1971, LeWitt’s work has played a steady and strong roll in the gallery’s programming. Along with regular solo exhibitions and inclusions in group shows, Krakow Witkin Gallery has published the catalogue raisonné of LeWitt’s prints online (www.sollewittprints.org). Furthermore, the “One Wall, One Work” series was inspired by LeWitt’s final wall drawing for the gallery. A program that has now been active for well over a decade, it is important to periodically exhibit others of LeWitt’s wall drawings. For this iteration of One Wall, One Work, the gallery presents Wall Drawing #815, a work that has not been photographed previously.
Wall Drawing #815 harkens back to one of the earliest Wall Drawings – Wall Drawing #51 (All architectural points connected by straight lines) which was made with blue snap lines. Like its predecessor, Wall Drawing #815 can be installed on any size wall, but #815 consists of thirty randomly placed points marked by nails, connected to one another via white string, all on a black wall.
First drawn by: Anders Hagman, Barbara O’Brien, Rose Olson
First installation: Montserrat College of Art Gallery, Beverly, Massachusetts
This installation size: 96 x 128 inches (243.8 x 325.1 cm)
Signed on accompanying certificate
(Inventory #30329)
Exhibited: March 29, 2019 – June 15, 2019
Krakow Witkin Gallery continues its ongoing relationship to the work of Sol LeWitt. First exhibited in the gallery in 1971, LeWitt’s work has played a steady and strong roll in the gallery’s programming. Along with regular solo exhibitions and inclusions in group shows, Krakow Witkin Gallery has published the catalogue raisonné of LeWitt’s prints online (www.sollewittprints.org). Furthermore, the “One Wall, One Work” series was inspired by LeWitt’s final wall drawing for the gallery. A program that has now been active for well over a decade, it is important to periodically exhibit others of LeWitt’s wall drawings. For this iteration of One Wall, One Work, the gallery presents Wall Drawing #815, a work that has not been photographed previously.
Wall Drawing #815 harkens back to one of the earliest Wall Drawings – Wall Drawing #51 (All architectural points connected by straight lines) which was made with blue snap lines. Like its predecessor, Wall Drawing #815 can be installed on any size wall, but #815 consists of thirty randomly placed points marked by nails, connected to one another via white string, all on a black wall.
First drawn by: Anders Hagman, Barbara O’Brien, Rose Olson
First installation: Montserrat College of Art Gallery, Beverly, Massachusetts
This installation size: 96 x 128 inches (243.8 x 325.1 cm)
Signed on accompanying certificate
(Inventory #30329)
Exhibited: March 29, 2019 – June 15, 2019
Krakow Witkin Gallery continues its ongoing relationship to the work of Sol LeWitt. First exhibited in the gallery in 1971, LeWitt’s work has played a steady and strong roll in the gallery’s programming. Along with regular solo exhibitions and inclusions in group shows, Krakow Witkin Gallery has published the catalogue raisonné of LeWitt’s prints online (www.sollewittprints.org). Furthermore, the “One Wall, One Work” series was inspired by LeWitt’s final wall drawing for the gallery. A program that has now been active for well over a decade, it is important to periodically exhibit others of LeWitt’s wall drawings. For this iteration of One Wall, One Work, the gallery presents Wall Drawing #815, a work that has not been photographed previously.
Wall Drawing #815 harkens back to one of the earliest Wall Drawings – Wall Drawing #51 (All architectural points connected by straight lines) which was made with blue snap lines. Like its predecessor, Wall Drawing #815 can be installed on any size wall, but #815 consists of thirty randomly placed points marked by nails, connected to one another via white string, all on a black wall.
Various Strata
Dimensions variable
This installation size: 78 x 78 inches (198.1 x 198.1 cm)
Signed on accompanying certificate
(Inventory #24255)
Exhibited February 16, 2019 – March 23, 2019
Dimensions variable
This installation size: 78 x 78 inches (198.1 x 198.1 cm)
Signed on accompanying certificate
(Inventory #24255)
Exhibited February 16, 2019 – March 23, 2019
The Flood from Triumphs and Laments
and six pieces of Somerset Soft White paper adhered by 30 aluminum pins
Overall size: 71 1/4 x 84 inches (181 x 213.4 cm)
Edition of 12
Signed and numbered on accompanying certificate
(Inventory #29857)
Exhibited January 5 – February 9, 2019
In early 2016 William Kentridge made a monumental frieze along the banks of Romes Tiber River. The 550 meter work (called Triumphs and Laments) was stenciled onto the wall of the river from Ponte Sisto to Ponte Mazzini. The friezes imagery consisted of scenes from the cultural and political history of Rome.
Also in 2016, Kentridge began a series of large woodcut prints using the same imagery. The work on view at Krakow Witkin Gallery is The Flood. The image of The Flood draws its inspiration from a photograph that Kentridge found of Romans seeking refuge from the devastating effects of the Tiber River flood that ravaged Rome in 1937. The work was made from multiple blocks of wood, prepared from multiple woodgrains, and printed on multiple sheets of paper that all fit together like a puzzle. Some sheets are cut at sharp angles, others torn. Pieces that the artist attached to the work in the last stages of production allow for overlaps of image and movement.
and six pieces of Somerset Soft White paper adhered by 30 aluminum pins
Overall size: 71 1/4 x 84 inches (181 x 213.4 cm)
Edition of 12
Signed and numbered on accompanying certificate
(Inventory #29857)
Exhibited January 5 – February 9, 2019
In early 2016 William Kentridge made a monumental frieze along the banks of Romes Tiber River. The 550 meter work (called Triumphs and Laments) was stenciled onto the wall of the river from Ponte Sisto to Ponte Mazzini. The friezes imagery consisted of scenes from the cultural and political history of Rome.
Also in 2016, Kentridge began a series of large woodcut prints using the same imagery. The work on view at Krakow Witkin Gallery is The Flood. The image of The Flood draws its inspiration from a photograph that Kentridge found of Romans seeking refuge from the devastating effects of the Tiber River flood that ravaged Rome in 1937. The work was made from multiple blocks of wood, prepared from multiple woodgrains, and printed on multiple sheets of paper that all fit together like a puzzle. Some sheets are cut at sharp angles, others torn. Pieces that the artist attached to the work in the last stages of production allow for overlaps of image and movement.
Queen of Spades
Image sizes vary for each
Paper size: 32 x 24 1/2 inches each (81.3 x 62.2 cm each)
Frame size: 34 3/4 x 27 3/8 inches each (88.3 x 69.5 cm each)
Edition of 18
Signed and dated lower right, numbered lower left and titled lower center in graphite on each sheet
(Inventory #30230)
Exhibited November 17, 2018 – December 22, 2018
Image sizes vary for each
Paper size: 32 x 24 1/2 inches each (81.3 x 62.2 cm each)
Frame size: 34 3/4 x 27 3/8 inches each (88.3 x 69.5 cm each)
Edition of 18
Signed and dated lower right, numbered lower left and titled lower center in graphite on each sheet
(Inventory #30230)
Exhibited November 17, 2018 – December 22, 2018
Consider listening
11 3/4 x 15 3/4 x 4 3/4 inches (30 x 40 x 12 cm)
Edition of 25
Signed and numbered on label on reverse with an accompanied certificate
(Inventory #29901)
Exhibited June 23 – August 3, 2018
11 3/4 x 15 3/4 x 4 3/4 inches (30 x 40 x 12 cm)
Edition of 25
Signed and numbered on label on reverse with an accompanied certificate
(Inventory #29901)
Exhibited June 23 – August 3, 2018
Everyone deserves a dream!
11 3/4 x 15 3/4 x 4 3/4 inches (30 x 40 x 12 cm)
Edition of 25
Signed and numbered on label on reverse with an accompanied certificate
(Inventory #29769)
Exhibited May 12, 2018 – June 23, 2018
11 3/4 x 15 3/4 x 4 3/4 inches (30 x 40 x 12 cm)
Edition of 25
Signed and numbered on label on reverse with an accompanied certificate
(Inventory #29769)
Exhibited May 12, 2018 – June 23, 2018
DUH!
on hand-dyed Twinrocker handmade paper
Image/paper size: 22 x 57 1/2 inches (55.9 x 146.1 cm)
Frame size: 26 3/8 x 61 3/4 inches (67 x 156.8 cm)
Signed and dated lower right in graphite
(Inventory #29554)
Exhibited March 31, 2018 – May 5, 2018
on hand-dyed Twinrocker handmade paper
Image/paper size: 22 x 57 1/2 inches (55.9 x 146.1 cm)
Frame size: 26 3/8 x 61 3/4 inches (67 x 156.8 cm)
Signed and dated lower right in graphite
(Inventory #29554)
Exhibited March 31, 2018 – May 5, 2018
Water Tower – Oxford, AL
76 x 36 x 12 inches (193 x 91.4 x 30.5 cm)
(Inventory #29397)
Exhibited February 17, 2018 – March 24, 2018
76 x 36 x 12 inches (193 x 91.4 x 30.5 cm)
(Inventory #29397)
Exhibited February 17, 2018 – March 24, 2018
Arno, Blue
76 7/8 x 5 1/4 x 3 inches (195.3 x 13.3 x 7.6 cm)
Edition of 6
(Inventory #27201)
Click on image to see film
Exhibited January 6, 2018 – February 10, 2018
Read more about this work here
76 7/8 x 5 1/4 x 3 inches (195.3 x 13.3 x 7.6 cm)
Edition of 6
(Inventory #27201)
Click on image to see film
Exhibited January 6, 2018 – February 10, 2018
Read more about this work here
15 Mouths
mounted on Hahnemühle Copperplate with letterpress printed text, series of fifteen
Image size: 1 1/2 x 3 1/4 inches each (3.8 x 8.3 cm each)
Plate size: 1 3/4 x 3 3/8 inches each (4.4 x 8.6 cm each)
Paper size: 10 x 8 inches each (25.4 x 20.3 cm each)
Edition of 40, plus 10 APs
Signed and numbered on colophon in graphite
(Inventory #29530)
Exhibited: November 11, 2017 – December 23, 2018
mounted on Hahnemühle Copperplate with letterpress printed text, series of fifteen
Image size: 1 1/2 x 3 1/4 inches each (3.8 x 8.3 cm each)
Plate size: 1 3/4 x 3 3/8 inches each (4.4 x 8.6 cm each)
Paper size: 10 x 8 inches each (25.4 x 20.3 cm each)
Edition of 40, plus 10 APs
Signed and numbered on colophon in graphite
(Inventory #29530)
Exhibited: November 11, 2017 – December 23, 2018
Untitled
Square: 30 x 30 inches (76.2 x 76.2 cm)
Circle: 30″ diameter (76.2 cm)
Signed and dated on accompanied certificate
(Inventory #29251)
Exhibited: September 16, 2017 – November 4, 2017
Square: 30 x 30 inches (76.2 x 76.2 cm)
Circle: 30″ diameter (76.2 cm)
Signed and dated on accompanied certificate
(Inventory #29251)
Exhibited: September 16, 2017 – November 4, 2017
Everything is Different
Endless loop, monitor size variable
Edition of 10
Signed, titled, dated and numbered on each disk
(Inventory #28940)
Exhibited: April 29, 2017 – May 6, 2017
Endless loop, monitor size variable
Edition of 10
Signed, titled, dated and numbered on each disk
(Inventory #28940)
Exhibited: April 29, 2017 – May 6, 2017
Untitled
Edition of 10
Signed, titled, dated and numbered on each disk
(Inventory #28405)
The above imagery is an abbreviated clip of a longer work.
Exhibited: May 6, 2017 – May 13, 2017
Edition of 10
Signed, titled, dated and numbered on each disk
(Inventory #28405)
The above imagery is an abbreviated clip of a longer work.
Exhibited: May 6, 2017 – May 13, 2017
The Air Between Us
Endless loop, monitor size variable
Edition of 10
Signed, titled, dated and numbered on each disk
(Inventory #28939)
The above imagery is an abbreviated clip of a longer work.
Exhibited: May 13, 2017 – May 19, 2017
Endless loop, monitor size variable
Edition of 10
Signed, titled, dated and numbered on each disk
(Inventory #28939)
The above imagery is an abbreviated clip of a longer work.
Exhibited: May 13, 2017 – May 19, 2017
Train 1
face mounted on toughened glass in aluminum frame, unique
40 3/4 x 4 3/8 x 77 1/2 inches (103.6 x 11 x 197 cm)
Signed on label on reverse
(Inventory #28879)
Exhibited: May 19, 2017 – July 28, 2017
face mounted on toughened glass in aluminum frame, unique
40 3/4 x 4 3/8 x 77 1/2 inches (103.6 x 11 x 197 cm)
Signed on label on reverse
(Inventory #28879)
Exhibited: May 19, 2017 – July 28, 2017
Actualidades/Breaking News
Duration: 22 minutes
Edition of 8
Signed and numbered
Conceived & Directed by Liliana Porter
Co-Director: Ana Tiscornia
Music: Sylvia Meyer
Videography and editing: Federico Lo Bianco
© Liliana Porter, 2016
(Inventory #28472)
Exhibited April 8, 2017 – April 28, 2017
This film was included in a rotating program of works created in video by four artists: Christian Marclay, Liliana Porter, Suara Welitoff and Julian Opie. Instead of a group show where multiple videos are playing simultaneously, each artists work will be on view, on its own, for three weeks. The choice of these four artists was an active one – to show the breadth and depth of work being made in and with video.
Duration: 22 minutes
Edition of 8
Signed and numbered
Conceived & Directed by Liliana Porter
Co-Director: Ana Tiscornia
Music: Sylvia Meyer
Videography and editing: Federico Lo Bianco
© Liliana Porter, 2016
(Inventory #28472)
Exhibited April 8, 2017 – April 28, 2017
This film was included in a rotating program of works created in video by four artists: Christian Marclay, Liliana Porter, Suara Welitoff and Julian Opie. Instead of a group show where multiple videos are playing simultaneously, each artists work will be on view, on its own, for three weeks. The choice of these four artists was an active one – to show the breadth and depth of work being made in and with video.
Telephones
Running time 7:30 minutes
Edition of 250
Signed on accompanying certificate
(Inventory #27661)
Exhibited March 18, 2017 – April 7, 2017
This film was included in a rotating program of works created in video by four artists: Christian Marclay, Liliana Porter, Suara Welitoff and Julian Opie. Instead of a group show where multiple videos are playing simultaneously, each artists work will be on view, on its own, for three weeks. The choice of these four artists was an active one – to show the breadth and depth of work being made in and with video.
The program began with Christian Marclays Telephones (on view from March 18 – April 7). As Daniel Zalewski wrote in The New Yorker, video offered Marclay another way to play with time. In 1995, he completed a rapid-fire montage of movie clips depicting one side of a telephone call. The seven-minute conversation was as funny and stilted as the dialogue in a Pinter play. (Darling, its me. What? The girls dead. Are you sure? Do you have a positive ID? Ah . . . no, not exactly. Im so confused!) Telephones, as it was called, was quietly revolutionary: one of the first video mashups, it was created a decade before the genre became ubiquitous on YouTube. Like its digital descendants, Telephones had a wrecking-ball quality; to look smart, it made its source material seem foolish. (Apple later asked to use the video for an ad launching the iPhone; when Marclay declined, the company aired a rip-off.) This piece is a looped video that plays continuously, ideally on a dated CRT television monitor.
Running time 7:30 minutes
Edition of 250
Signed on accompanying certificate
(Inventory #27661)
Exhibited March 18, 2017 – April 7, 2017
This film was included in a rotating program of works created in video by four artists: Christian Marclay, Liliana Porter, Suara Welitoff and Julian Opie. Instead of a group show where multiple videos are playing simultaneously, each artists work will be on view, on its own, for three weeks. The choice of these four artists was an active one – to show the breadth and depth of work being made in and with video.
The program began with Christian Marclays Telephones (on view from March 18 – April 7). As Daniel Zalewski wrote in The New Yorker, video offered Marclay another way to play with time. In 1995, he completed a rapid-fire montage of movie clips depicting one side of a telephone call. The seven-minute conversation was as funny and stilted as the dialogue in a Pinter play. (Darling, its me. What? The girls dead. Are you sure? Do you have a positive ID? Ah . . . no, not exactly. Im so confused!) Telephones, as it was called, was quietly revolutionary: one of the first video mashups, it was created a decade before the genre became ubiquitous on YouTube. Like its digital descendants, Telephones had a wrecking-ball quality; to look smart, it made its source material seem foolish. (Apple later asked to use the video for an ad launching the iPhone; when Marclay declined, the company aired a rip-off.) This piece is a looped video that plays continuously, ideally on a dated CRT television monitor.
Wall Drawing #239
First Drawn by: Kazuko Miyamoto
First Installation: Paula Cooper Gallery, New York, NY
Location of a line
A straight line from the lower left corner of the wall to a point halfway between the center of the wall and the midpoint of the left side
(Inventory #28439)
Exhibited: February 14, 2017 – March 18, 2017
First Drawn by: Kazuko Miyamoto
First Installation: Paula Cooper Gallery, New York, NY
Location of a line
A straight line from the lower left corner of the wall to a point halfway between the center of the wall and the midpoint of the left side
(Inventory #28439)
Exhibited: February 14, 2017 – March 18, 2017
Wall Drawing #177
First Drawn by: Paula Cooper
First Installation: Paula Cooper Gallery, New York, NY
A 48″ (120 cm) horizontal line from the right side of the wall, 48″ (120 cm) above the floor
(Inventory #28437)
Exhibited: February 7, 2017 – February 11, 2017
First Drawn by: Paula Cooper
First Installation: Paula Cooper Gallery, New York, NY
A 48″ (120 cm) horizontal line from the right side of the wall, 48″ (120 cm) above the floor
(Inventory #28437)
Exhibited: February 7, 2017 – February 11, 2017
Wall Drawing #172
First Drawn by: Sol LeWitt, Nicholas Logsdail
First Installation: Lisson Gallery, London, England
Lines through the center of the wall toward midpoints of sides and corners
(Inventory #28436)
Exhibited: January 31, 2017 – February 4, 2017
First Drawn by: Sol LeWitt, Nicholas Logsdail
First Installation: Lisson Gallery, London, England
Lines through the center of the wall toward midpoints of sides and corners
(Inventory #28436)
Exhibited: January 31, 2017 – February 4, 2017
Wall Drawing #167
First Drawn by: Sol LeWitt, Nicholas Logsdail
First Installation: Lisson Gallery, London, England
A line from the center of the wall to the midpoint of the top side, and a line from the midpoint of the first line to the midpoint of the left side
(Inventory #28435)
Exhibited: January 25, 2017 – January 28, 2017
First Drawn by: Sol LeWitt, Nicholas Logsdail
First Installation: Lisson Gallery, London, England
A line from the center of the wall to the midpoint of the top side, and a line from the midpoint of the first line to the midpoint of the left side
(Inventory #28435)
Exhibited: January 25, 2017 – January 28, 2017
Wall Drawing #166
First Drawn by: Sol LeWitt, Nicholas Logsdail
First Installation: Lisson Gallery, London, England
A line through the center of the wall toward the midpoint of the top side and a line from the midpoint of the left side to the midpoint of the right side
(Inventory #28434)
Exhibited: January 18, 2017 – January 21, 2017
First Drawn by: Sol LeWitt, Nicholas Logsdail
First Installation: Lisson Gallery, London, England
A line through the center of the wall toward the midpoint of the top side and a line from the midpoint of the left side to the midpoint of the right side
(Inventory #28434)
Exhibited: January 18, 2017 – January 21, 2017
Wall Drawing #126
First Drawn by: C. Kaufman, S. Kuffler, Matt Mullican, R. Rosenwasser, J. Stein, James Welling
First Installation: California Institute of the Arts, Valencia, CA
Not straight lines from corners to corners
A not straight line from the upper left corner to the lower right corner, and a not straight line from the upper right corner to the lower left corner
(Inventory #28433)
Exhibited: January 10, 2017 – January 14, 2017
First Drawn by: C. Kaufman, S. Kuffler, Matt Mullican, R. Rosenwasser, J. Stein, James Welling
First Installation: California Institute of the Arts, Valencia, CA
Not straight lines from corners to corners
A not straight line from the upper left corner to the lower right corner, and a not straight line from the upper right corner to the lower left corner
(Inventory #28433)
Exhibited: January 10, 2017 – January 14, 2017
Wall Drawing #121
First Drawn by: Saul Ostrow
First Installation: University of Massachusetts, Amherst, MA
Crossing lines
A not straight line from the upper left corner to the lower right corner and from the upper right corner to the lower left corner, a not straight line from the midpoint of the left side to the midpoint of the right side, and a not straight line from the midpoint of the top to the midpoint of the bottom, all crossing in the center of the wall.
(Inventory #28432)
Exhibited: January 3, 2017 – January 7, 2017
First Drawn by: Saul Ostrow
First Installation: University of Massachusetts, Amherst, MA
Crossing lines
A not straight line from the upper left corner to the lower right corner and from the upper right corner to the lower left corner, a not straight line from the midpoint of the left side to the midpoint of the right side, and a not straight line from the midpoint of the top to the midpoint of the bottom, all crossing in the center of the wall.
(Inventory #28432)
Exhibited: January 3, 2017 – January 7, 2017
Unexpected Variable Configurations: A Work in Situ
Plate size: 17 1/8 x 17 1/8 inches each (43.5 x 43.5 cm)
Installation size according to the wall
Signed and numbered on certificate
(Inventory #25030)
Exhibited: September 10, 2016 – December 10, 2016
Plate size: 17 1/8 x 17 1/8 inches each (43.5 x 43.5 cm)
Installation size according to the wall
Signed and numbered on certificate
(Inventory #25030)
Exhibited: September 10, 2016 – December 10, 2016
Section 88: Views from inner to outer compartment_ACT VI_Scene II
28 1/4 x 94 x 1 inches (71.8 x 238.8 x 2.5 cm)
Edition of 3
(Inventory #28132)
Exhibited: May 11, 2016 – July 29, 2016
28 1/4 x 94 x 1 inches (71.8 x 238.8 x 2.5 cm)
Edition of 3
(Inventory #28132)
Exhibited: May 11, 2016 – July 29, 2016
Crossed Mirage III
Overall size: 67 1/2 x 85 5/8 x 17 1/2 inches (171.5 x 217.5 x 44.5 cm)
Signed on reverse
(Inventory #27949)
Exhibited: January 12, 2016 – May 5, 2016
Overall size: 67 1/2 x 85 5/8 x 17 1/2 inches (171.5 x 217.5 x 44.5 cm)
Signed on reverse
(Inventory #27949)
Exhibited: January 12, 2016 – May 5, 2016
Untitled
Dimensions variable
This installation size: 72 x 106 inches (182.9 x 269.2 cm)
on a wall measuring 96 x 128 inches (horizontal)
Signed on accompanying certificate
(Inventory #27738)
Exhibited: October 15, 2015 – January 12, 2016
Dimensions variable
This installation size: 72 x 106 inches (182.9 x 269.2 cm)
on a wall measuring 96 x 128 inches (horizontal)
Signed on accompanying certificate
(Inventory #27738)
Exhibited: October 15, 2015 – January 12, 2016
Untitled
Dimensions variable (size is made to fit any wall the work is allotted to)
Edition of 8
Signed and numbered on the accompanying certificate
(Inventory #27355)
Exhibited: June 2015 – October 2015
Read more about this work here
Dimensions variable (size is made to fit any wall the work is allotted to)
Edition of 8
Signed and numbered on the accompanying certificate
(Inventory #27355)
Exhibited: June 2015 – October 2015
Read more about this work here
Rosa Parks
Image/paper size: 40 1/8 x 82 1/2 inches (102 x 209.5 cm)
Frame size: 43 x 85 1/2 inches (109.2 x 217.2 cm)
Edition of 30, 8 AP
Signed, dated and numbered on verso
(Inventory #22019)
Exhibited: April 2015 – June 2015
Read more about this work here
Image/paper size: 40 1/8 x 82 1/2 inches (102 x 209.5 cm)
Frame size: 43 x 85 1/2 inches (109.2 x 217.2 cm)
Edition of 30, 8 AP
Signed, dated and numbered on verso
(Inventory #22019)
Exhibited: April 2015 – June 2015
Read more about this work here
TRUISMS (selections from 1977-79)
Custom black box size: 8 x 5 1/2 x 3 3/4 inches (20.3 x 14 x 9.5 cm)
Edition of 12
Numbered and signed stamped on the bottom
(Inventory #27399)
Barbara Krakow Gallery
Exhibited: March 2015 – April 2015
Custom black box size: 8 x 5 1/2 x 3 3/4 inches (20.3 x 14 x 9.5 cm)
Edition of 12
Numbered and signed stamped on the bottom
(Inventory #27399)
Barbara Krakow Gallery
Exhibited: March 2015 – April 2015
The Clock Tower
Image/panel size: 33 3/8 x 22 1/4 inches each (84.8 x 56.5 cm each)
Text panel size: 8 x 6 inches (20.3 x 15.2 cm)
Overall size: 99 3/4 x 89 inches (253.4 x 226.1 cm)
Edition of 5, PP
Signed, titled and numbered on reverse on 12th panel
(Inventory #26602)
Exhibited: January 2015 – March 2015
TEXT PANEL:
He can hear sighs and conversations of people collecting in the hall waiting for elevators, heading out of the building, the telephone rings.
“Good, I hoped that you were still here.”
“Yeah, well I thought that it might be you.”
“Where do you want to meet?”
“Well, they are still under construction on the 15th floor and the union guys are out of there by now and I think they have finished a few of the offices with good views. Wait a second… I don’t hear the muffled power tools. Want to go there?”
“Sure, I have not been down there as yet.”
” What about the rooftop conference room? Was there anything scheduled there today?”
“I don’t think so, but we will have to take the stairs to get up there…the west staircase is always an option a little later if you still have work to do.”
“Naw, I’m almost finished.”
“What time do you have?”
“8:20.”
“I’ll meet you in the hall at a quarter to.”
“Okay.”
Image/panel size: 33 3/8 x 22 1/4 inches each (84.8 x 56.5 cm each)
Text panel size: 8 x 6 inches (20.3 x 15.2 cm)
Overall size: 99 3/4 x 89 inches (253.4 x 226.1 cm)
Edition of 5, PP
Signed, titled and numbered on reverse on 12th panel
(Inventory #26602)
Exhibited: January 2015 – March 2015
TEXT PANEL:
He can hear sighs and conversations of people collecting in the hall waiting for elevators, heading out of the building, the telephone rings.
“Good, I hoped that you were still here.”
“Yeah, well I thought that it might be you.”
“Where do you want to meet?”
“Well, they are still under construction on the 15th floor and the union guys are out of there by now and I think they have finished a few of the offices with good views. Wait a second… I don’t hear the muffled power tools. Want to go there?”
“Sure, I have not been down there as yet.”
” What about the rooftop conference room? Was there anything scheduled there today?”
“I don’t think so, but we will have to take the stairs to get up there…the west staircase is always an option a little later if you still have work to do.”
“Naw, I’m almost finished.”
“What time do you have?”
“8:20.”
“I’ll meet you in the hall at a quarter to.”
“Okay.”
EDGE/EDGES
Text: painted metal plate (1/4 inch thick)
Each element: 69 x 1 1/4 x 5 inches (175 x 3.2 x 12.5 cm)
Overall size dimensions variable
This installation size: 69 x 90 inches (175.3 x 228.6 cm)
Signed and dated on accompanying certificate
(Inventory #26898)
Exhibited: November 2014 – January 2015
Text: painted metal plate (1/4 inch thick)
Each element: 69 x 1 1/4 x 5 inches (175 x 3.2 x 12.5 cm)
Overall size dimensions variable
This installation size: 69 x 90 inches (175.3 x 228.6 cm)
Signed and dated on accompanying certificate
(Inventory #26898)
Exhibited: November 2014 – January 2015
The Top Ten Historical Similarities (and Differences) Between Prints and Photographs
Six at 16 x 20 inches each (40.6 x 50.8 cm each)
Four at 20 x 16 inches each (50.8 x 40.6 cm each)
Edition of 30Signed ‘A Ruppersberg’ lower center, numbered lower left and dated lower right on each sheet
(Inventory #24605)
Exhibited: October 2014 – November 2014
Read more about this work here
Six at 16 x 20 inches each (40.6 x 50.8 cm each)
Four at 20 x 16 inches each (50.8 x 40.6 cm each)
Edition of 30Signed ‘A Ruppersberg’ lower center, numbered lower left and dated lower right on each sheet
(Inventory #24605)
Exhibited: October 2014 – November 2014
Read more about this work here
Ten Feet
4 x 12 inches each (10.2 x 30.5 cm each)
This installation size is 4 inches x 120 inches
Signed ‘Mel Bochner’ on reverse on each piece
(Inventory #26687)
Barbara Krakow Gallery
Exhibited: September 2014 – October 2014
4 x 12 inches each (10.2 x 30.5 cm each)
This installation size is 4 inches x 120 inches
Signed ‘Mel Bochner’ on reverse on each piece
(Inventory #26687)
Barbara Krakow Gallery
Exhibited: September 2014 – October 2014
The Shapes Project: Shapes From Maine Shapes Ornaments
Each one with signed authentication card
Collection of 144
Each one: 2 1/4 x 3 3/8 x 1/2 inches (5.7 x 8.6 x 1.3 cm)
(Inventory #20624)
Barbara Krakow Gallery
Exhibited: June 2014 – September 2014
Read more about this work and it’s exhibition here
Each one with signed authentication card
Collection of 144
Each one: 2 1/4 x 3 3/8 x 1/2 inches (5.7 x 8.6 x 1.3 cm)
(Inventory #20624)
Barbara Krakow Gallery
Exhibited: June 2014 – September 2014
Read more about this work and it’s exhibition here
Detail Image
Exhibited: June 2014 – September 2014
Untitled
Signed and dated on accompanying certificate
Installation size variable
(Inventory #26309)
Robert Barry
Barbara Krakow Gallery
Exhibited: May – June 2014
Read more about this work and its exhibition here
Signed and dated on accompanying certificate
Installation size variable
(Inventory #26309)
Robert Barry
Barbara Krakow Gallery
Exhibited: May – June 2014
Read more about this work and its exhibition here
Pastoral
Edition of 15
72 x 76 inches (183 x 193 cm)
(Inventory #14918)
Exhibited: February 2014 – May 2014
Read more about this work here
Edition of 15
72 x 76 inches (183 x 193 cm)
(Inventory #14918)
Exhibited: February 2014 – May 2014
Read more about this work here
Trees 1
Installation dimensions vary
This installation size: 96 5/8 x 128 1/2 inches (245.4 x 326.4 cm)
(Inventory #25684)
Barbara Krakow Gallery
Exhibited: October 2013 – February 2014
Installation dimensions vary
This installation size: 96 5/8 x 128 1/2 inches (245.4 x 326.4 cm)
(Inventory #25684)
Barbara Krakow Gallery
Exhibited: October 2013 – February 2014
Broken Bubbles
Signed on the back
Panel size: 16 x 16 inches each (40.6 x 40.6 cm each)
Overall size: 33 1/2 x 51 inches (85.1 x 129.5 cm)
(Inventory #24514)
Exhibited September 2013 – October 2013
Signed on the back
Panel size: 16 x 16 inches each (40.6 x 40.6 cm each)
Overall size: 33 1/2 x 51 inches (85.1 x 129.5 cm)
(Inventory #24514)
Exhibited September 2013 – October 2013
Constructed Landscape (Winter)
Installation measurements vary
This installation: 8′ x 10′ 8″
(Inventory #24818)
Exhibited: January 2013 – September 2013
Read more about this work here
Installation measurements vary
This installation: 8′ x 10′ 8″
(Inventory #24818)
Exhibited: January 2013 – September 2013
Read more about this work here
Reflections
Edition of 9
Signed, dated and numbered in box
Installation size: 4 3/8 inches x 33 1/2 inches overall
Letter size: 4 3/8 inches each
Box size: 11 x 39 x 1 5/8 inches
(Inventory #25505)
Exhibited: October 2012 – January 2013
Edition of 9
Signed, dated and numbered in box
Installation size: 4 3/8 inches x 33 1/2 inches overall
Letter size: 4 3/8 inches each
Box size: 11 x 39 x 1 5/8 inches
(Inventory #25505)
Exhibited: October 2012 – January 2013
Detail Image
Untitled
Dimensions Variable
This installation will measure on wall 96″ x 128″
(Inventory #24425)
Exhibited: September 2012
Dimensions Variable
This installation will measure on wall 96″ x 128″
(Inventory #24425)
Exhibited: September 2012
Fragment: Figure VIII
Edition of 8
Signed, dated ’70 and numbered on reverse
37 x 20 x 10 inches (93.9 x 50.8 x 25.4 cm)
(Inventory #24134)
Exhibited April 2012 – September 2012
Edition of 8
Signed, dated ’70 and numbered on reverse
37 x 20 x 10 inches (93.9 x 50.8 x 25.4 cm)
(Inventory #24134)
Exhibited April 2012 – September 2012
OPALKA 1965 / 1 – ∞
Edition of 298
Signed and numbered on colophon page
Image/paper size (folded): 12 x 9 3/8 inches each (30.5 x 23.8 cm each)
Image/paper size (unfolded): 12 x 18 3/4 inches each (30.5 x 47.6 cm each)
Portfolio case: 12 5/8 x 10 1/8 x 2 inches (32.1 x 25.7 x 5.1 cm)
(Inventory #23902)
Exhibited: January 2012 – April 2012
Edition of 298
Signed and numbered on colophon page
Image/paper size (folded): 12 x 9 3/8 inches each (30.5 x 23.8 cm each)
Image/paper size (unfolded): 12 x 18 3/4 inches each (30.5 x 47.6 cm each)
Portfolio case: 12 5/8 x 10 1/8 x 2 inches (32.1 x 25.7 x 5.1 cm)
(Inventory #23902)
Exhibited: January 2012 – April 2012
STILL
Overall dimensions variable
This installation: 79 x 79 inches (200.7 x 200.7 cm)
(Inventory #23776)
First painted by: Ryan Cross, Barbara Krakow Gallery
First installation: Surface Area September 10, 2011 – October 15, 2011
Overall dimensions variable
This installation: 79 x 79 inches (200.7 x 200.7 cm)
(Inventory #23776)
First painted by: Ryan Cross, Barbara Krakow Gallery
First installation: Surface Area September 10, 2011 – October 15, 2011
Here Comes the Sun
Edition of 10
Installation dimensions vary
(Inventory #22505)
Exhibited at Barbara Krakow Gallery
Edition of 10
Installation dimensions vary
(Inventory #22505)
Exhibited at Barbara Krakow Gallery
Untitled (Circle Mural), I From a series of Circle Murals
Diameter: 2 meters (Approximately 79 inches diameter)
(Inventory #22663)
Exhibited: September 10, 2010 – October 16, 2010
Diameter: 2 meters (Approximately 79 inches diameter)
(Inventory #22663)
Exhibited: September 10, 2010 – October 16, 2010
Untitled (Circle Mural), I From a series of Circle Murals
Diameter: 2 meters (Approximately 79 inches diameter)
(Inventory #22663)
Detail View
Diameter: 2 meters (Approximately 79 inches diameter)
(Inventory #22663)
Detail View
Three Light Boxes for One Wall
Signed and numbered on label on verso of one box
Small box: 23 1/2 x 31 1/2 x 3 1/2 inches
Medium box: 31 1/2 x 31 1/2 x 3 1/2 inches
and Large box: 39 x 31 1/2 x 3 1/2 inches
(Inventory #19398)
Exhibited: March 20, 2010 – May 1, 2010
Signed and numbered on label on verso of one box
Small box: 23 1/2 x 31 1/2 x 3 1/2 inches
Medium box: 31 1/2 x 31 1/2 x 3 1/2 inches
and Large box: 39 x 31 1/2 x 3 1/2 inches
(Inventory #19398)
Exhibited: March 20, 2010 – May 1, 2010
Aphorism-Archimedes
Edition of 15
Signed and numbered on the certificate
Dimensions variable (size is made to fit any wall the work is allotted to)
(Inventory #22145)
Exhibited: January 23, 2010 – March 13, 2010
Edition of 15
Signed and numbered on the certificate
Dimensions variable (size is made to fit any wall the work is allotted to)
(Inventory #22145)
Exhibited: January 23, 2010 – March 13, 2010
Affresco – 5
Mirror fragments irregularly shaped and sized
Installation size varies according to the chosen wall
This installation size: 92 x 137 inches
Edition of 12
Signed and numbered on a printed certificate with collage
(Inventory #22640)
Exhibited: Missing: Featuring work by Barbara Broughel, Carrol Dunham, Joseph Grigely, Yayoi Kusama, Sol LeWitt, Allan McCollum, Michelangelo Pistoletto, Robin Rhode, Fred Sandback, Jonathan Seliger, and Sarah Sze, January 17, 2009 – March 4, 2009, Barbara Krakow Gallery, Boston
Mirror fragments irregularly shaped and sized
Installation size varies according to the chosen wall
This installation size: 92 x 137 inches
Edition of 12
Signed and numbered on a printed certificate with collage
(Inventory #22640)
Exhibited: Missing: Featuring work by Barbara Broughel, Carrol Dunham, Joseph Grigely, Yayoi Kusama, Sol LeWitt, Allan McCollum, Michelangelo Pistoletto, Robin Rhode, Fred Sandback, Jonathan Seliger, and Sarah Sze, January 17, 2009 – March 4, 2009, Barbara Krakow Gallery, Boston
Red and yellow styrofoam on a blue wall, December 1995
Dimensions variable, based on the wall. This installation: 7 feet, 11 inches tall x 11 feet, 3 inches wide
(Inventory #19684)
Exhibited: Sol LeWitt: Small Structures and Related Works, April 12, 2008 – May 21, 2008, Barbara Krakow Gallery, Boston
Dimensions variable, based on the wall. This installation: 7 feet, 11 inches tall x 11 feet, 3 inches wide
(Inventory #19684)
Exhibited: Sol LeWitt: Small Structures and Related Works, April 12, 2008 – May 21, 2008, Barbara Krakow Gallery, Boston
Wall Drawing #1212
First drawn by: Ben Chaffee, Jesse Good
First installation: Barbara Krakow Gallery, Boston, MA, August 2006
96 3/4 x 128 1/2 inches (245.7 x 326.4 cm)
Signed on accompanying certificate
(Inventory #17986)
First drawn by: Ben Chaffee, Jesse Good
First installation: Barbara Krakow Gallery, Boston, MA, August 2006
96 3/4 x 128 1/2 inches (245.7 x 326.4 cm)
Signed on accompanying certificate
(Inventory #17986)