Photo Diary: Art of Another Kind — International Abstraction at the Guggenheim.


Alberto Burri’s burlap collage from 1953, titled Composition. Digging the splash of gold in the upper right hand corner.


A mobile by Alexander Calder floats in the museum’s atrium.


Ibram Lassaw’s Corax, from 1953 — looking like it’d just burst out of someone’s gut.

This one is definitely worth checking out: the gathering of abstract art from the 1950s that’s currently on view at the Guggenheim. The museum has dug into its collection to showcase some of the big (mostly male) names of the era (Pollock, de Kooning, Kline, etc.) But it also contains some awesome/weird surprises — including a massive canvas by Newark-born Carmen Cicero, some excellent canvas collages by Conrad Marca-Relli, and some highly intriguing burlap and metal pieces by Alberto Burri. (Somebody please do a retrospective!)

Art of Another Kind: International Abstraction is on view through September 12 at the Guggenheim Museum.


Painting No. 7, by Franz Kline.


Two Heads, 1953, by Karel Appel.


I really enjoyed these canvas collages by Conrad Marca-Relli. This one is from 1959.


Another highly awesome canvas collage by Marca-Relli: this one titled Warrior, from 1956.


Untitled (Violet, Black, Orange, Yellow on White and Red), 1949, by Mark Rothko.


Composition, 1955, by Willem de Kooning. Trademark pink in the upper right hand corner.


I dug this little crumbly gold piece by Robert Rauschenberg: Untitled (Gold Painting), ca. 1953.


A balsa wood sculpture by Isamu Noguchi: The Cry, from 1959.


Hans Hofmann’s abstract painting The Gate, from 1959-60.


The Guggenheim’s architecture isn’t always kind to its art. But the abstract paintings on view worked really well with Wright’s ziggurat floorplan.


Had never seen this piece before: Newark-born Carmen Cicero’s 1959 painting Odradek. Bad-ass in an abstracted AT-AT, lizard-creature kind of way.


Signs & Portents, ca. 1956, by José Guerrero. (It seems the Guggenheim was really into buying Spanish artists in the 1950s.)


There was something crazy-dark about this piece. I came back to it several times. Adios, 1959, by Antonio Lara.


To think: a naked lady covered in paint rolled around this canvas. Large Blue Anthropometry (ANT 105), c 1960 by Yves Klein.


Meeting of Two Intensities, c. 1960, by Yaacov Agam.


This piece is so Inquisition: From Within (Desde Dentro), 1953 by Eduardo Chillida.

2 comments

  1. c-monster

    of course i remember grande cretto… i want to go to sicily just so i can see it! that photo essay is what got me into burri…