Categories
Art Behind the Scenes Curatorial

From the Vault: Rubber Stamp Portfolio, 1977

Tom Wesselmann (American, 1931–2004), Shiny Nude, from the Rubber Stamp Portfolio, 1976, published 1977. Rubber stamp print, printed in color. Image: 5 7/8 × 5 11/16 in. (14.92 × 14.45 cm); sheet: 8 × 8 in. (20.32 × 20.32 cm). Gift of Virginia M. and J. Thomas Maher III M1994.263.1. © Estate of Tom Wesselmann/Licensed by VAGA, New York, NY.
Tom Wesselmann (American, 1931–2004), Shiny Nude, from the Rubber Stamp Portfolio, 1976, published 1977. Rubber stamp print, printed in color. Image: 5 7/8 × 5 11/16 in. (14.92 × 14.45 cm); sheet: 8 × 8 in. (20.32 × 20.32 cm). Gift of Virginia M. and J. Thomas Maher III M1994.263.1. © Estate of Tom Wesselmann/Licensed by VAGA, New York, NY.

As the Collections Manager of Works on Paper, one of my duties is to facilitate the movement of the prints, drawings and photography in the collection for exhibitions, rotations, loans and viewings for researchers in the Herzfeld Study Center.

Our works on paper storage vault is organized into logical, easy-to-use groupings by size, century, nationality and then by artist’s last name (OK; it’s highly organized).

While pulling a print to go on view in the galleries, I stumbled upon a print by Carl Andre from a portfolio that I have never worked with before.

Categories
Art Curatorial

Can I walk on it?

Carl Andre (American, b. 1935) 144 Pieces of Zinc, 1967 Zinc plates each plate: 12 x 12 x 3/8 in. (30.48 x 30.48 x 0.95 cm) Purchase, National Endowment for the Arts Matching Funds M1969.22 Photo credit Larry Sanders © Carl Andre/Licensed by VAGA, New York, NY
Carl Andre (American, b. 1935), 144 Pieces of Zinc, 1967. Zinc plates;
each plate: 12 x 12 x 3/8 in. Milwaukee Art Museum, Purchase, National Endowment for the Arts Matching Funds M1969.22.
Photo by Larry Sanders.
© Carl Andre/Licensed by VAGA, New York, NY

Yes!

Carl Andre’s 144 Pieces of Zinc is one of the few artworks in the Museum’s Collection that is meant to be experienced physically, and that visitors may touch.  The artist felt that the qualities inherent in the material were the most important aspect of his work, and that they were meant to be discovered through touch.

Imagine 144 Pieces of Zinc wasn’t in a museum, but, say, come upon in a hardware store surrounded by a bunch of home improvement tiles.   You don’t have to imagine.  The Tate Museum did it.  They installed their collection’s 144 Magnesium Square on the floor in a hardware store in Liverpool, England, and then asked residents of Liverpool what they thought about seeing the minimalist work in a non-art context.

As you see in the video, people have strong feelings about this sort of thing…