Carl Andre - Wood Saw-Cut Exercise
Wood, 61 × 8.9 × 8.9 cm, 1958
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Carl Andre - Wood Saw-Cut Exercise
Wood, 61 × 8.9 × 8.9 cm, 1958

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The Illinois, 1956, Frank Lloyd Wright
Constantin Brancusi
The Muse, 1917
Construction de la “colonne sans fin” de Constantin Brancusi
Examples of paintings from the exhibition " Spilling Over: Painting Color in the 1960s” at the Whitney Museum of American Art, N.Y.C…[top to bottom: Josef Albers; Helen Frankenthaler; Morris Lewis; Kenneth Noland; Marcia Hafif; Richard Anuszkiewicz; Ellsworth Kelly; Alvin Loving; Frank Stella; Miriam Shapiro.
https://whitney.org/exhibitions/spilling-over#exhibition-about

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https://www.instagram.com/kulachek/
It contains a form composition by Ellsworth Kelly:
White Relief over White, 2003 (MoMA Collection)
Black Relief over White, 1994 (Matthew Marks Gallery)
White Relief with Green, 1994 (Matthew Marks Gallery)
Ilya Chashnik’s Composition With Red Stripe, 1924 (via here)
Erwin Heerich
CAHIERS D’ART: Ellsworth Kelly 25 February–18 May 2019 Paris
CAHIERS D'ART pays tribute to Ellsworth Kelly (1923–2015), one of the most important abstract artists of the 20thand 21st centuries, through an exhibition of collages and works on paper from the early 1950s. This exhibition, organised in collaboration with The Ellsworth Kelly Foundation and Matthew Marks Gallery, will open February 26th2019 at the CAHIERS D'ART galleries on 14 and 15 rue du Dragon.
A monograph is also published by CAHIERS D'ART in co-edition with Centre Pompidou on the occasion of the exhibition Ellsworth Kelly: Windows (February 27th–May 27th 2019), that for the first time brings together the six Windows made by Kelly in France between 1949 and 1950. A period of perpetual invention to which the artist has regularly turned to throughout his career, these French years are fundamental to the understanding of the work of Ellsworth Kelly. 'After constructing Window with two canvases and a wood frame, I realised that from then on painting as I had known it was finished for me,' wrote Kelly in his notes in 1969. The book evokes this key moment through more than eighty works, paintings, drawings, sketches and photographs never assembled before. Two beautiful essays by Jean-Pierre Criqui and Yve-Alain Bois propose a new examination of this cardinal moment by focusing on the very evocative pattern of the windows.
Ellsworth Kelly was a key figure in the rebirth of CAHIERS D’ART. The publishing house was reopened in 2012 with an exhibition of his works in its legendary gallery in Saint-Germain-des-Prés and the first revue to be published by CAHIERS D’ART after a hiatus of 52 years was devoted to Ellsworth Kelly, with an iconic cover created by the artist. In parallel, CAHIERS D’ART published in collaboration with scholar Yve-Alain Bois and the Ellsworth Kelly Foundation the first volume of the Ellsworth Kelly’s Catalogue Raisonné of Paintings, Reliefs, and Sculpture, 1940–1953, which received the Pierre Daix Prize in 2015. CAHIERS D’ART is preparing for publication of the second volume spanning 1954–1959, forthcoming in 2020.
https://ocula.com/art-galleries/cahiers-dart/exhibitions/ellsworth-kelly/?utm_source=Email&utm_medium=email&utm_campaign=Notifications
Square, circle and arrow, 1915, Kazimir Malevich

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Ellsworth Kelly, Untitled (EK 927), 2005
Glass mosaic bowl fragment, Metropolitan Museum of Art: Greek and Roman Art
Edward C. Moore Collection, Bequest of Edward C. Moore, 1891 Metropolitan Museum of Art, New York, NY Medium: Glass
http://www.metmuseum.org/art/collection/search/257085
De houten kapel van John Pawson in het zuidwesten van Duitsland, gemaakt als een plaats van rust en reflectie, volgt een lange lokale traditie van bouwwerken langs de weg. Dit rustieke, minimalistische stuk architectuur rijst zachtjes op in het landschap, de ruw uitgehakte boomstammen versmelten met de omgeving. Pawson kreeg van de Stichting Siegfried en Elfriede Denzel de opdracht om de moderne kapel te bouwen in het kader van het project Sieben Kapellen, dat tot doel heeft deze kapellen voor fietsers te creëren om te schuilen.
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Museum Yves Saint Laurent in Marrakech, een museum dat er bijna uitziet als een parfumfles. Bij het ontwerp van de Franse architecten Olivier Marty en Karl Fournier van Studio KO valt het duotone terracotta- en terrazzo-gebouw op door het grafische rode metselwerk, dat de patronen weerspiegelt die Saint Laurent in zijn ontwerpen verwerkte. In het midden van een cirkelvormig atrium herbergt het ruime interieur een permanente tentoonstelling van 400 m² die gewijd is aan de carrière van Saint Laurent als modeontwerper. Het museum omvat een tentoonstellingsruimte, een bibliotheek, een boekhandel, een auditorium en een café. In de woorden van zijn overleden partner Pierre Bergé: “toen Laurent Marrakech voor het eerst ontdekte was hij zo ontroerd door de stad dat hij onmiddellijk besloot hier een huis te kopen en kwam hij regelmatig terug. Het voelt heel natuurlijk aan om vijftig jaar later een museum te bouwen dat gewijd is aan zijn oeuvre, dat zo geïnspireerd was op dit land”. De opening van het museum - op 19 oktober 2017 - volgt kort na de opening van het Musée Yves Saint Laurent Paris.
Louise Bourgeois, Untitled, 2005 Hauser & Wirth Gallery

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Agitation stand by El Lissitzky.
via: El Lissitzky exhibition in Moscow, November 2017-February 2018
(via El Lissitzky exhibition in Moscow, November 2017-February 2018)