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Two good reasons, Ariel Schlesinger, 2015.
Polypropilane, engine, wood, 100 x 132 cm-each.
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Venus Bleue (S41), Yves Klein, 1962/1982.
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Woman at her bath, Color woodblock print, Goyō_Hashiguchi, 1915.
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The absolute end, Ed Ruscha, 1982.
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Lucian Freud and Caroline Blackwood at Coombe Priory, Photography by Cecil Beaton, 1956.
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Francis Bacon, Photography by John Deakin, 1962.
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Casablanca Series, Photography by Francesca Gardini, 2015.
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Cy Twombly studio, Roma , Photography by Ugo Mulas, 1969-1970.
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David Hockney & John Kasmin, 1965.
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Kamisuki Hair, Woodblock print, Hashiguchi Goyō, Taishō era, 1920.
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Grapefruit artist’s book, Yoko Ono, 1964.
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Opposite of White V. 1, Roni Horn, 2006.
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My Thin-Aired Room, Gelatin silver print, Photography by Kansuke Yamamoto, 1956.
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La gabbia, Michelangelo Pistoletto, 1970.
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Franz Erhard Walther, 1986.
Catalogue published on the occasion of the solo show Ich bin die Skulptur at the Kunstverein Braunschweig, Germany.http://www.galeriewolff.com/publications/franz-erhard-walther-ich-bin-die-skulptur-wandformationen-1978-1985-und-zeichnungen
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Tamami Iinuma.
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Shifted volumes, From the series Walls, Corners, Tubes, Peter Fischli & David Weiss, 2009.
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Smell of tiger precedes tiger, Photography by André Principe, Published by Pierre von Kleist, 2012.
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Circle, Jiro Yoshihara, 1971.
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The Hotel, Room 29, Sophie Calle, 1981.
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Your Secure and Private Path, Photography by Josephine Pryde, 2015.
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A Tusk Figurine of a Man, Ivory sculpture from Egypt, ca. 3900–3500 B.C.
Tusk figures belong to a group of abbreviated figurines made in the Predynastic Period. Such figurines emphasize only facial features and sexuality, while eliminating or schematizing limbs. Tusk figurines exploit a natural form –the tusk of a hippo– creating a male figure that radiates sexuality. This figurine is a superbly finished version of the type […]
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A Corner of Mondrian’s Studio with Bed, Stool, Curtain, and Mirrors, Gelatin silver print, Photography by André Kertész, 1926.
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Female Figure (Tetepeku), Wood, paint, Sculpture, 108 x 58.4 x 17.8 cm, 19th–early 20th century.
The complex male initiation cycle of the Abelam people is restricted to men. However, its sacred spaces and sculptures are often suffused with female symbolism and imagery. In the highest initiation rites, tetepeku, slender female images with long legs spread wide, are erected inside the men’s ceremonial house above the main entrance and the entrances […]