NEW AMERICAN LANDSCAPE PAINTING, INSTALLATION VIEW, THE ARENA. N.A.L.P. WITH THREE GUYS FROM DELANCY ST., INSTALLATION VIEW, FORMER STABLE. tably in the use of industrially produced materials; stacked, repeated elements; and synthetic color, even if in Feher’s case both the materials and their color were found, rather than fabricated. <strong>The</strong> distinction between fabricated and pre-existing (“found”) materials is in any case not necessarily of any great significance here, especially since Feher makes no specific reference to the origins of his materials that would introduce a quasi-narrative element to the work. había escrito: “Los materiales son sim- plemente materiales – formica, aluminio, acero, plexiglás, bronce, etc. Son espe- cíficos. Si se usan directamente, son más específicos”. 2 El énfasis en un ángulo preciso de 90 grados en la pieza roja es un reflejo de la predilección de Judd por la forma clara, articulada sin artificios, y más específicamente su primera obra tri- dimensional, los dos paneles pintados de rojo y unidos en ángulo recto por un tubo de metal (Sin título, 1962). Como 37 In any case, as Judd wrote, “Materials are simply materials—formica, aluminum, cold-rolled steel, Plexiglas, red and common brass, and so forth. <strong>The</strong>y are specific. If they are used directly, they are more specific.” 2 <strong>The</strong> emphasis on a precise ninety-degree angle in the red piece evoked Judd’s sympathy for clear, straightforwardly articulated form in general, and—more specifically—his first three-dimensional work, the two wooden panels painted red and observó Judd mismo sobre esta obra: “No tiene realmente interior y exterior, sólo el espacio formado por el ángulo y el espacio más allá de éste.” 3 Se podría decir lo mismo con respecto a la cons- trucción de Feher, mucho más grande, que divide el espacio amplio y alto del Ice House sin encerrar nada – excepto a veces algún observador que se deje envolver por el ángulo. La pila de cajas plateadas es en cierto modo más convencionalmente escultu- ral, ya que se levanta del piso y culmina N.A.L.P. WITH THE RED AND THE SILVER, INSTALLATION VIEW, THE ICE PLANT.
N.A.L.P. WITH THREE GUYS FROM DELANCY ST., INSTALLATION VIEW, FORMER STABLE. 38
- Page 2 and 3: 2 4 8 16 18 30 34 Contents Contenid
- Page 4 and 5: gathered for an exhibition at China
- Page 6 and 7: Laurel Gonsalves Elvira González D
- Page 8 and 9: Josef Albers Carl Andre Ingólfur A
- Page 11 and 12: CONVERSATION WITH JOHN CHAMBERLAIN
- Page 13 and 14: K K : As different as that was, at
- Page 15 and 16: K K : And how far did that get you?
- Page 17 and 18: UNTITLED,1991, PANORAMIC PHOTOGRAPH
- Page 19 and 20: RO B E R T C R E E L E Y para john
- Page 21 and 22: REDWING, 1960, PAINTED STEEL. on Do
- Page 23 and 24: MISS LUCY PINK, 1962, PAINTED AND C
- Page 25 and 26: ists who have combined old and new
- Page 27 and 28: UNTITLED, c.1964, CAR PAINT AND CHR
- Page 29 and 30: JOHN CHAMBERLAIN BUILDINIG, CHINATI
- Page 31 and 32: DAVID TOMPKINS It’s All in the Fi
- Page 33 and 34: fore us. An intuitive response, on
- Page 35 and 36: UNTITLED, 1966, URETHANE FOAM AND C
- Page 37: RUSSELL FERGUSON Disregarded, Ordin
- Page 42 and 43: specting the pre-existing context s
- Page 44 and 45: N.A.L.P. WITH THREE GUYS FROM DELAN
- Page 46 and 47: VIEW ACROSS THE SWANNANOA VALLEY TO
- Page 48 and 49: education, Rice and his co-defector
- Page 50 and 51: LEAFLET SHOWING ALBERS’S LOGO DES
- Page 52 and 53: students identified themselves with
- Page 54 and 55: instead of second hand analysis and
- Page 56 and 57: 14 Josef and Anni Albers, interview
- Page 58 and 59: JOSEF ALBERS, HOMAGE TO THE SQUARE
- Page 60 and 61: that price it is an institutional p
- Page 62 and 63: general view are absent. They were
- Page 64 and 65: WINDOW OF ADOBE HOUSE, UNDATED, 194
- Page 66 and 67: Before the conclusion Larson wrote
- Page 68 and 69: absent, say that what is present is
- Page 70 and 71: intensity of the color varies accor
- Page 72 and 73: sertive and retiring, stolid and pr
- Page 74 and 75: BRIAN KIRK NELMS, UNTITLED, 2006. L
- Page 76 and 77: OLIVER CROY, ALL FANTASIES, GENTLEM
- Page 78 and 79: Open House 2006 The Chinati Foundat
- Page 80 and 81: THE DANDY WARHOLS AND FRIENDS VISIT
- Page 82 and 83: CAITLIN MURRAY KATHERINE KORDARIS A
- Page 84 and 85: MAYOR DAVID LANMAN AND CHINATI ADMI
- Page 86 and 87: Anna Friebe-Reininghaus Yoko Fukuda
- Page 88 and 89:
Emerson Head Josef Helfenstein Mart
- Page 90 and 91:
David B. Walek Jeanne & John (Ned)
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John Wesley B’s Stair, 2001 Five