PHI TESSERAE, 2015
Acrylic on canvas
70 in x 70 in each
Patterns and pattern recognition are an integral part of human history. Patterns exist in our DNA, our ancient crafts, advanced mathematics, and computer code. They have played a significant role in remarkable discoveries by scholars and visionaries as diverse as Pythagoras and Buckminster Fuller.
Richert has been investigating the use of patterns in his work since the late 1960s. These dazzling paintings were commissioned especially for the ART, a hotel.
Sevenoaks, Kent, England
FALCON (ORIGAMI), 2007
Gloss house paint
84¼ in x 84¼ in
The title of this work refers to the origami pattern that can, in the hands of an origami artist, turn a flat piece of paper into a sculpture that resembles a falcon.
Morris has collected origami “crease patterns” for years and has based an entire series of paintings and prints on their deceptively simple geometry. By abstracting these elements into flat, sometimes gridlike, diagrammatic forms and painting them with boldly colored household gloss paint, she creates paintings that transform the appropriated origami influences into bright, pristine paintings.
YELLOW RUSHING TOWARD ME, 2002
Oil, acrylic, sand, charcoal on wood panel
60 in x 48 in
In 1964 Dine used the image of a man’s bathrobe to create a self- portrait. Since then he has made hundreds of paintings, prints, and drawings based on that theme—an invisible figure in a bathrobe, each work expressing a different mood and vitality. In this painting, the then sixty-sevenyear-old artist presents himself as a painter in a virile, energetic self-portrait, confronting us in a nearly aggressive stance, the bright red robe splattered with paint. Even though Dine has lived and exhibited all over the world, he remains a quintessential American artist who credits his Cincinnati upbringing for most influencing who he is. “Cincinnati is beautiful. She is my Muse.”
DINH Q. LÊ
Hà Tiên, Vietnam
C-print and linen tape
45 in x 30 in each
Dinh Q. Lê is a conceptual artist from Vietnam whose woven photo images have become hallmarks of his style. For Lê, the traditional Vietnamese mat weaving techniques serve as a vehicle for images that express his hybrid identity and the complex relationships between memory and history.
Lê started weaving images of flowers in response to 9/11. In this triptych, commissioned especially for this space in the ART, a hotel, he relates the flowers symbolically to the persistence of beauty and the flowering of human resilience amid the horror of destruction.
CONTINENTAL DIVIDE, 2014
Oil, alkyd, ink, synthetic polymer on canvas
72 in x 80 in
Reynolds traveled to Colorado to find and photograph clouds above the Continental Divide on June 21, 2014, the first day of summer. The source for the image in this painting was taken at 12:01 p.m. at a spot known locally as Cloud City outside of Leadville, where Oscar Wilde famously visited in 1882. Of his visit Wilde reputedly remarked, “Here I saw the only rational method of art criticism I have run across. Over the piano was printed a notice, Please do not shoot the piano player. He is doing his best.”
Grandin, North Dakota
35 ¾ in x 30 in
LINCOLN CENTER PINOCCHIO, 2008
42 ½ in x 30 in
COOSJE VAN BRUGGEN & CLAES OLDENBURG
Groningen, Netherlands; Stockholm, Sweden
TYPEWRITER ERASER, SCALE X, 1991
38 in x 27 ½ in
Haag am Hausruck, Austria
ENTWURF EINES KIOSK, 1924
37 ½ in x 28 in