By Rosalind E. Krauss
In accordance with the 1999 Walter Neurath Memorial Lecture, this publication makes use of the paintings of the Belgian artist Marcel Broodthaers to argue that the specifity of mediums, even modernist ones, can by no means be easily collapsed into the physicality in their help.
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Extra info for A Voyage on the North Sea: Art in the Age of the Post-Medium Condition (Walter Neurath Memorial Lecture)
120 Figure 7-2. Hugging or Good Hope Road II (Pastoral), 1945. Oil on canvas, 25 1/2" × 32 5/8". Thyssen-Bornemisza Collection, Lugano, Switzerland. 121 Figure 7-3. Impatience, 1945. Oil on canvas, 24" × 30". Collection of Mr. Sidney Kohl. 123 Figure 7-4. Landscape Table, 1945. Oil on canvas, 36" × 48". Musée National d'Art Moderne, Paris. 125 Figure 7-5. Study for From a High Place II, 1946. Pencil and wax crayon, 13 1/8" × 20 1/4". Estate of the artist. 127 Figure 7-6. From a High Place II, 1946.
Ms. Sylvia F. Lahvis of the New Milford Historical Society helped supply arcane photographic resources, as did Mrs. Nancy Little, then of M. Knoedler & Co. This book's early champion, the worldly-wise Abner Schram, died before he could see this new printing, which testifies to the faith and insight he first expressed amid the manuscript piles and paper clutter of his darkly Dickensian office above Broadway, into which was stuffed a giant cast-iron safe on rollers, painted with those delicate floral borders that would never be found in a corporate-owned subsidiary publishing house.
Estate of the artist. 127 Figure 7-6. From a High Place II, 1946. Oil on canvas, 17" × 24". Estate of the artist. 128 Figure 7-7. "Last Painting," 1948. Oil on canvas, 30" × 38". Estate of the artist. 129 Figure 8-1. Fireplace in Virginia, 1946. Ink and crayon, 8 1/2" × 10 7/8". Estate of the artist. 134 Figure 8-2. Valentine, 1938. Gouache, 13 1/2" × 8 3/4". Collection of Leonore Gallet Portnoff. 135 Page xiv Figure 8-3. Untitled, 1946. Pen and ink and crayon on paper, 8 1/2'' × 11". Estate of the artist.