COLLECTION NAME:
Visual Resources Teaching Collection
mediaCollectionId
ArtArtHiAAH~7~7
Visual Resources Teaching Collection
Collection
true
Image Record ID:
aahi0012586
image_record_id
aahi0012586
Image Record ID
false
Work Title (display):
Untitled (crate)
Image Title:
Deep Storage 41
Work Dates (display):
1996
Work Dates type:
creation
Image Date (display):
2014-09-04
Work Creator (display):
Richard Artschwager (American, 1923-2013)
Work Creator gender:
male
work_creator_or_agent_gender
male
Work Creator gender
false
Work Creator notes (display):
American sculptor and painter. He studied art in 194950 under Amédée Ozenfant in New York. During the 1950s he designed and made furniture in New York, but after a fire that destroyed most of the contents of his shop in 1958 he turned again to art, initially painting abstract pictures derived from memories of the New Mexican landscape. Artschwager continued to produce furniture and, after a commission to make altars for ships in 1960, had the idea of producing sculptures that mimicked actual objects while simultaneously betraying their identity as artistic illusions. At first these included objets trouvés made of wood, overpainted with acrylic in an exaggerated wood-grain pattern (e.g. Table and Chair, 19623; New York, Paula Cooper priv. col., see 19889 exh. cat., p. 49), but he soon developed more abstract or geometrical versions of such objects formed from a veneer of formica on wood (e.g. Table and Chair, 19634; London, Tate). His preference for synthetic materials considered to be in debased taste together with his references to everyday objects were central to his response to Pop art. Similarly his blocklike sculptures had much in common formally with Minimalism. From 1962 Artschwager also painted grey acrylic monochrome pictures, basing his images on black-and-white photographs, characteristically of modern buildings as shown in property advertisements, as in Apartment House (1964; Cologne, Mus. Ludwig). Gradually his paintings became more complex and mysterious, the surface subsumed in a pattern of flickering light, for example in The Bush (1.22×1.79 m, 1971; New York, Whitney). His emphasis, however, remained on ambiguities of perceptionon the interaction of observation and illusionespecially in sculptures conceived as hybrids of recognizable objects, such as Book III (Laokoon; formica on wood with metal handles and vinyl cushion, 1981; Paris, Pompidou), part lectern and part pew. (Grove Art Online accessed 2006-07-28)
Work Creator UCB affiliation (display):
visiting artist, Visiting Artist Program, 1991
Work Worktype:
sculpture (visual works)
work_type
sculpture (visual works)
Work Worktype
false
Work Category (VRC classification):
sculptures and installations
work_category__ucbaahvrc_classification_
sculptures and installations
Work Category (VRC classification)
false
Image Source Reproduction refid:
batch_20140829_01
Image Rights (display):
unknown
Image Rights fair use checklist:
1) use of this image is for education and educational research; 2) access is restricted to University of Colorado and Auraria Higher Education Center communities; 3) the original photographer is credited if known; 4) the image is published; 5) the amount of the work in relation to the whole is needed for education or educational research; 6) the number of derivatives is the minimum required for education or educational research; 7) the image has not been found to be reasonably available for sale; 8) duplication of the image does not violate preexisting contracts.
Work Rights (display):
© Richard Artschwager
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Holding Institution:
University of Colorado Boulder
Collection:
Art and Art History Visual Resources Center
Collection info and contact:
For information about this collection, see