Marisol

Rudy Burckhardt
Marisol Exhibition at Leo Castelli Gallery
1957
photographic print
Archives of American Art, Washington DC

Marisol
Sculptures on View - Leo Castelli 
1957
offset print
(exhibition announcement)
Archives of American Art, Washington DC

Marisol
Untitled Sculpture
(as photographed by Leo Castelli Gallery)
ca. 1957
 found wooden printer's tray with ceramic figures
Archives of American Art, Washington DC

Marisol
Untitled Sculpture
1960
bronze
Hirshhorn Museum, Washington DC

Marisol
Marisol - Recent Sculpture - Stable Gallery
1962
offset-print
(exhibition invitation)
Archives of American Art, Washington DC

Marisol
The Jazz Wall
1963
painted wood and found objects
Art Institute of Chicago

Marisol
Women and Dog
1963-64
painted wood, plaster and found objects
Whitney Museum of American Art, New York

Hans Namuth
Marisol Escobar
1964
gelatin silver print
National Portrait Gallery, Washington DC

Frederick McDarrah
Marisol Escobar in her Studio with Wood Sculpture
1966
gelatin silver print
National Portrait Gallery, Washington DC

Marisol
Hugh Hefner
1966-67
painted wood, brass and steel
National Portrait Gallery, Washington DC

Marisol
Bob Hope
1967
painted wood
National Portrait Gallery, Washington DC

Marisol
Henry Kissinger and Richard Nixon
1972
marble
National Portrait Gallery, Washington DC

Marisol
I Hate You
1973
colored pencil and crayon on paper
Art Institute of Chicago

Marisol
Cultural Head
1973
lithograph
Art Institute of Chicago

Marisol
Marisol Paints - The New York Cultural Center
1973
lithograph
(exhibition poster)
Hirshhorn Museum, Washington DC

Marisol
Nelson Rockefeller
1974
carved slate
National Portrait Gallery, Washington DC

Marisol
Bloodshot
1976
colored pencil on paper
Whitney Museum of American Art, New York

Channel 13

It came down to this: that merely naming the creatures

                    Spelt their doom.

Three quick moves translated camelopard, dik-dik, and

                    Ostrich from

Grassland to circus to Roman floor mosaic to

                    TV room.

Here self-excusing voices attended (and music,

                    Also canned)

The lark's acrobatics, the great white shark's blue shadow

                    Making sand

Crawl fleshwise. Our ultimate "breakthrough" lenses took it

                    In unmanned.

Now the vast shine of appearances shrinks to a tiny

                    Sun, the screen

Goes black. Anaconda, tree toad, alpaca, clown-face

                    Capuchin –

Launched at hour's end in the snug electronic ark of

                    What has been.

– James Merrill (1985)

Baziotes

William Baziotes
Abstraction
ca. 1943
mixed media on paper
Smithsonian American Art Museum, Washington DC

William Baziotes
The Parachutists
1944
enamel on canvas
Guggenheim Museum, New York

William Baziotes
Night Figure no. 1
ca. 1945
watercolor, ink, gouache and graphite on paper
Guggenheim Museum, New York

William Baziotes
Green Form
1945-46
oil on canvas
Whitney Museum of American Art, New York

William Baziotes
The Falcon
1947
oil on canvas
Hirshhorn Museum, Washington DC

Lee Francis
William Baziotes in the Studio
ca. 1947
gelatin silver print
Archives of American Art, Washington DC

William Baziotes
Pierrot II
1948
oil on canvas
Chrysler Museum of Art, Norfolk, Virginia

William Baziotes
Pink Figure
1949
watercolor, charcoal and ink on paper
North Carolina Museum of Art, Raleigh

Rudy Burckhardt
Ethel and William Baziotes
with gallery directors Samuel and Jane Kootz
ca. 1950
gelatin silver print
Archives of American Art, Washington DC

William Baziotes
Dusk
1954
oil on canvas
New Britain Museum of American Art, Connecticut

William Baziotes
Congo
1954
oil on canvas
Los Angeles County Museum of Art

William Baziotes
Black Night
1954
oil on canvas
Carnegie Museum of Art, Pittsburgh

William Baziotes
Watercolor #1
1958
watercolor on paper
Hirshhorn Museum, Washington DC

William Baziotes
Watercolor #5 / Verso: Composition
1958
watercolor on paper
Hirshhorn Museum, Washington DC

William Baziotes
Untitled
ca. 1962
watercolor on paper
Whitney Museum of American Art, New York

William Baziotes
Untitled
before 1963
watercolor on paper
Art Institute of Chicago

from Strato in Plaster

Out of the blue, in plaster from wrist to bicep

Somebody opens a beer, pretending to be 

My friend Strato. Years or minutes – which? –

Have passed since we last looked upon each other.

He's in town for his sister's wedding

To this elderly thin-lipped sonofabitch

Who gets the house for dowry – enough to make

A brother break with the entire family.

Considering it, his eyes fairly cross

With self-importance. That, I recognize.

Here at hand is a postcard Chester sent

Of the Apollo at Olympia,

Its message Strato as he used to be. 

Joy breeds in the beautiful blind gaze,

The marble mouth and breastbone. I look hard

At both the god and him. (He loves attention

Like gods and children, and he lifts his glass.)

Those extra kilos, that moustache, 

Lies found out and letters left unanswered

Just won't do. It makes him burst out laughing,

Curiously happy, flecked with foam.

– James Merrill (1972)

Notices

Alfred Choubrac
Esclarmonde
1889
lithograph
(poster for Massenet opera)
Art Gallery of New South Wales, Sydney

Charles Herbert Woodbury
Society of Painters in Water Color of Holland
1895
lithograph
(exhibition poster)
Delaware Art Museum, Wilmington

Franz von Stuck
7th International Art Exhibition of the Munich Secession
1897
lithograph (poster)
Kunstbibliothek, Staatliche Museen zu Berlin

Ivan Meštrović
Secession XXXV Ausstellung
1910
lithograph
(exhibition poster)
National Gallery of Australia, Canberra

Martin Tuszkay
Feltünö Plakatok
ca. 1911-14
lithograph
(Budapest exhibition of posters by Tuszkay)
Kunstbibliothek, Staatliche Museen zu Berlin

Gustave-Max Stevens
Les Affiches Étrangères
1914
lithograph
(exhibition poster)
Delaware Art Museum, Wilmington

William Manning
Paintings from the Fifties
1965
screenprint
(exhibition poster)
Portland Museum of Art, Maine

Wes Wilson
The Doors at the Fillmore, San Francisco
1967
lithograph (poster)
Delaware Art Museum, Wilmington

Victor Moscoso
Blues Project at Matrix, San Francisco
1967
lithograph (poster)
Denver Art Museum

Patrick Lofthouse
Big Brother and the Holding Company at the Fillmore, San Francisco
1968
lithograph (poster)
National Gallery of Australia, Canberra

Ben Vautier
Qu'on se le dise!
ca. 1970
lithograph
(exhibition announcement)
Walker Art Center, Minneapolis

John Castagno
Pennsylvania Opera Company - Rigoletto
1972
screenprint (poster)
Delaware Art Museum, Wilmington

Diane Payne
Concert - Australians for Nuclear Disarmament
1982
screenprint (poster)
National Gallery of Australia, Canberra

Jill Yates
Art Domesti-City
ca. 1985
screenprint (poster)
National Gallery of Australia, Canberra

Tony Twigg
A Puppet Company
ca. 1985
lithograph and letterpress (poster)
National Gallery of Australia, Canberra

Hugh Ramage
Australia Felix
1987
screenprint
(exhibition poster)
National Gallery of Australia, Canberra

The Winged Horse

Here is my horse Abstraction, 
silver-white, color of the page,
of the unwritten.

Come, Abstraction,

by Will out of Demonic Ambition:

carry me lightly into the regions of the immortal.

I am weary of my other mount,

by Instinct out of Reality,

color of dust, of disappointment,

notwithstanding

the saddle that went with him 

and the bronze spurs, the bit

of indestructible metal.

I am weary of the world's gifts, the world's

stipulated limits.

And I am weary of being opposed

and weary of being constantly contradicted by the material, as by

a massive wall where all I say can be

checked up on.

Then come, Abstraction,

take me where you have taken so many others,

far from here, to the void, the star pasture.

Bear me quickly,

Dream out of Blind Hope.

– Louise Glück (1999)

Showing, Keeping, Making

Anonymous German Painter
Gallery in the Old Museum
1896
oil on canvas
Alte Nationalgalerie, Staatliche Museen zu Berlin

Anonymous German Photographer
Italian Renaissance Gallery, Kaiser Friedrich Museum, Berlin
ca. 1925-35
gelatin silver print
Kupferstichkabinett, Staatliche Museen zu Berlin

Bénigne Gagneraux
Meeting of King Gustav III of Sweden and Pope Pius VI in the Pio-Clementine Museum, Rome
1786
oil on canvas
Národní Galerie, Prague

Adrienne Marie Louise Grandpierre-Deverzy
Interior of the Studio of Abel de Pujol
1822
oil on canvas
Musée Marmottan Monet, Paris

Norbert Grund
Art Gallery
ca. 1740
oil on canvas
Deutsche Barockgalerie, Augsburg

Alois Hänisch
Map Room at the Albertina, Vienna
1916
oil on canvas
Graphische Sammlung Albertina, Vienna

Nora Heysen
The Studio
1931
woodcut
Art Gallery of South Australia, Adelaide

Candida Höfer
Villa Hügel, Essen II
2009
C-print
Museum Folkwang, Essen

Georg Friedrich Kersting
Caspar David Friedrich in his Studio
1811
oil on canvas
Hamburger Kunsthalle

Johannes Laurentius
Gallery View - Deities from Greek Sanctuaries
2011
digital photograph
Altes Museum, Berlin

Sigrid Lehrbäck
Sculpture Gallery - Ateneum, Helsinki
ca. 1898-1905
oil on canvas
Ateneum Art Museum, Helsinki

Marcel-Eugène Louveau-Rouveyre
Storage at Musée de Cluny, Paris
ca. 1910
watercolor
Morgan Library, New York

Jean-André Rixens
Opening Day at the Palais des Champs-Élysées
1890
oil on canvas
National Gallery, Athens

Hubert Robert
Young Artist drawing in Ruins of Roman Sculpture Gallery
ca. 1775
drawing
National Gallery, Athens

Karel Slabbaert
Painting Studio of St Luke
ca. 1645-50
oil on panel
Gemäldegalerie, Staatliche Museen zu Berlin

Fritz Werner
The Librarian
ca. 1873
oil on panel
Alte Nationalgalerie, Staatliche Museen zu Berlin

Tamburlaine [to Zenocrate]:

Disdains Zenocrate to live with me?
Or you my Lordes to be my followers?
Thinke you I way this treasure more than you?
Not all the Gold in Indias welthy armes,
Shall buy the meanest souldier in my traine.
Zenocrate, lovelier than the Love of Jove,
Brighter than is the silver Rhodope,
Fairer than whitest snow on Scythian hils,
Thy person is more woorth to Tamburlaine,
Than the possession of the Persean Crowne,
Which gratious starres have promist at my birth.
A hundreth Tartars shall attend on thee,
Mounted on Steeds, swifter than Pegasus.
Thy Garments shall be made of Medean silke,
Enchast with precious juelles of mine owne:
More rich and valurous than Zenocrates.
With milke-white Hartes upon an Ivorie sled,
Thou shalt be drawen amidst the frosen Pooles,
And scale the ysie mountaines lofty tops:
Which with thy beautie will be soone resolv'd.

– Christopher Marlowe, Tamburlaine, The First Part, act I, scene ii (1590)