videos + essays
Mark Rothko, No. 210/No. 211 (Orange), 1960
Just because a painting isn’t full of angels doesn’t mean it isn’t spiritual and transcendent.
Richard Serra, Band
Serra’s sculpture creates new spaces within the architecture of the room.
Richard Serra, Torqued Ellipse IV
Inspired by a misinterpretation of a Renaissance church in Rome, this sculpture pushed the limits of technology.
Richard Serra, Intersection II
Serra guides you through his sculpture in the garden of MOMA.
Ad Reinhardt, Abstract Painting
Art on the edge of perception—Ad Reinhardt works with the biology of human sight and rewards close looking.
Donald Judd, Untitled
Judd’s boxes were made by factory workers, not by the artist—but he provided instructions.
Eva Hesse, Untitled (Rope Piece)
This sculpture was hanging in the artist’s studio at the time of her death; it can be hung in numerous ways.
Jackie Winsor, #1 Rope
Women’s labor and the passage of time are evoked in this sculpture constructed of organic materials.
Eva Hesse, Untitled
Her friends were into high conceptualism, but Hesse’s own approach is more playful, bodily, and feminist.
Robert Morris, (Untitled) L-Beams
Are these objects the same size? Morris challenges our perception.
Richard Serra, Tilted Arc
Who should be the arbiter of taste—the person on the street, the artist, the courts?
Helen Frankenthaler, The Bay
She was a pioneer of the “soak-stain method” of diluting acrylic paint and pouring it into unprimed canvas.