Andrea Zittel: Investigating freedom

Andrea Zittel

Image 1-3 from top: Inhabitable sculptures – A-Z wagon stations

Bottom: A-Z Carpet Furniture: Cabin

"Blurring the line between art and life, american artist Andrea Zittel’s fascinating experiments in functional living showcase her preoccupation with self-sufficiency and adaptability. Since a decade she has been creating minimal self-sufficient dwelling spaces in which everyday actions such as sleeping, eating, cooking, bathing and socializing are transformed into acts of art."

Text from www.designboom.com Follow the link to read the full article.
Images via www.designboom.com, www.artnet.com and www.afterall.org

Body, action and space: Franz Erhard Walther

Franz Erhard Walther

Drei Sockel. Vier Standstellen. Zwei Schreitbahnen, 1975

Ten Meters Twice (sidesteps), 1977

Opposite and Laterally Space Circuit, 1976

Action Piece

55 Handlungsbahnen 

Since the 60s, Walther has used the body as material for his textile sculptures. He invites the observers to participate in his work, through the use and rearranging of the forms presented. New connections appear.

Photos via:

arttattler.com

www.sightunseen.com

Josef Albers: Structural Constellations

Josef Albers

F.M.E 5, 1962

Structural Constellation, ca. 1950

Structural Indication, 1948

All: Machine engraving on laminated plastic

Josef Albers is one of those great Bauhaus Artists I rediscover from time to time. We recently used som of his color exercises in a drawing class where I teach, and during research, I found the wonderful website albersfoundation.org They not only have great photos, but texts, lectures, and films with Josef and Annie Albers. A great resource, highly recommended!

Mono-ha

From the top:

Nobuo Sekine Phase-Mother Earth 1968
Lee Ufan Relatum 1968
Kishio Suga Limitless Condition 1971
Susumu Koshimizu Paper 1969
Noboru Takayama Yuusatsu 1973

Mono-ha was a japanese art movement in the sixties and seventies, related to concept and minimal art. They investigated the material as a thing in itself, how it lies, stands or just is, and how it relates to other materials and the surrounding space. 

(Photos via www.tokyoartbeat.com, there you can also find out more abuot Mono-ha)

Constructing New York

Unfolded origami III: Gerd Tinglum

My former professor in art school, made these beautiful works:

Gerd Tinglum

Guards 1991

Pigment and lacquer on paper

Via skissebokv2012.blogspot.no

Unfolded origami II: Dorothea Rockburne

Dorothea Rockburne 

Locus, 1972

Relief etchings with aquatints on folded paper

Conservation Class #9 1973 

Graphite on paper mounted on gessoed masonite

Copal VIII  1978

Kraft paper, Copal oil varnish, blue pencil, Mylar tape and glue on ragboard

Golden Section Painting: Square Separated by Parallellogram 1974

Gesso and blue pencil on sized, glued, and folded linen

More on Dorothea Rockburne: www.dorothearockburne.com

Unfolded origami I: Dóra Maurer

I absolutely love these unfolded-origami-ish works. Poetic geometry! Great minds think alike: I'll post works by three great artists this weekend. First up ...

Dóra Maurer 

Hidden Structures 1,2 and 6 1977-1980

Graphite on paper

Images via moma.org

Imi Knoebel: Raum 19

Imi Knoebel

Raum 19 (Room 19) 1968

Masonite, wood, multipart work

‘Room 19' from 1968 - (is) a large installation in four parts made of wood, in which Knoebel first introduced a core principle of his work: the principle of layering individual elements which then combine in ever new variations, in pictures and spatial compositions.

Images via wouter davidts archive
Text/image at the top via artnews

Dóra Maurer Tracing Space

Dóra Maurer 

Tracing Space I, Tracing Space II, and Plan 1979

Gelatin silver prints and graphite

Since the 1970s, Maurer has explored the nature of space and movement though the use of serial sequences of images, signs, and language. Working in photography, film, and graphic design, she makes art based on mathematical and conceptual processes, often reversing, repeating, and repositioning objects for the camera. In Tracing Space I, II and Plan, the artist applied this serial process of observation to her studio, moving around the space while photographing it. The pictures, presented with her plan for taking them, reveal the connection between structure (or intent) and spontaneity (what the camera actually recorded). Maurer’s process–oriented oeuvre unites the concrete and the conceptual in a manner that suggests the centrality of perspective—in art, as in life.

Text from moma.org