Eric Burdon
Lucio del Pezzo (Italian, b.1933) - Untitled, color serigraph and offset print on laid paper, 47.50 x 47.50 cm (1976)
Lucio del Pezzo - Sirena, 1999
Lucio del Pezzo, Casellario, 1986, Wood and acrylic relief on panel, 143 x 103 cm.
The coolest girl in the world up-close and personal by Mark Borthwick
Christian Hosoi, Del Mar, 1985. Photo by J. Grant.
“Stand fast therefore in the liberty by which Christian Hosoi has made us free, and do not be entangled again with a yoke of bondage.”
“As a young skater growing up on the east coast in the 80s, Christian Hosoi had already achieved iconic status amongst my circle of friends. Some of our earliest glimpses of professional skateboarding, which at the time existed almost entirely on the west coast, were delivered courtesy of Thrasher Magazine and featured coverage of the scene and contests going on at Del Mar Skate Park. Christian Hosoi’s style practically jumped out of the pages.” https://www.instagram.com/p/CScVH-3N1Dz/?utm_medium=tumblr
Untitled from On a Clear Day, Agnes Martin, 1973, MoMA: Drawings and Prints
Gift of the artist and the publisher, Parasol Press, Ltd. Size: composition: 8 ½ x 8 ½" (21.6 x 21.6 cm); sheet: 12 1/8 x 12" (30.8 x 30.5 cm) Medium: One from a portfolio of 30 screenprints
Untitled, 1978, Agnes Martin
Balthazar Korab, An extraordinary think-tank “quiet” room, Chicago, 1973.
Designed by Associated Space Design. https://www.instagram.com/p/CNvE2Z8AFFT/?igshid=znap375j2nex
Prière et Force, 1952
Burroughs Wellcome Headquarters, Triangle Research Park, North Carolina. Paul Rudolph, architect, 1969-72. Photo by Joseph W. Molitor/© Columbia University, Avery Architectural and Fine Arts Library/courtesy the Paul Rudolph Heritage Foundation
What a dream.
Incomplete Open Cubes by Sol LeWitt 1974 [buy book]
Incomplete Open Cubes exemplifies the deployment of a single idea to become, in LeWitt’s words, “a machine that makes the art.” The work forges a new way of making art in its ambitious use of a serial system that enables a kind of “noncompositional composition.” The translation of the same idea into different scales and media is another key aspect of the work. All 122 variations in the series exist in three dimensions, from a set in which each cube is 2 ½ inches square to the 40 inches square human-scaled versions. There are also entire sets of photographs, drawings, working sketches and notes, and an artist’s book.
THE HOUSE BOOK | Terence Conran ©1976