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Jack WhittenOne Hundred Ninety Pieces of Color: For Elisworth Kelly #22016acrylic on canvas122 x 122 cm
Jack WhittenThe Folding Of Spacetime I2016acrylic on panel50,8 x 40,6 cm
Jack WhittenSite XI2015acrylic on panel40,6 x 50,8 cm
Jack WhittenVulcan Philosophy ("Infinite diversity in infinite combinations") For: Dr. Spock2015acrylic and one stainless steel ball bearing on MDF panel88,9 x 198,1 cm
Jack WhittenThe Prize #12015acrylic on ply panel45,7 x 35,6 cm
Jack WhittenCompressed Space IV2015acrylic on ply panel30,5 x 30,5 cm
Jack WhittenThe Birth of Jazz (Point/Wave/Point)2015acrylic on canvas114,3 x 439,4 cm
Jack WhittenCompressed Space II2015acrylic on ply panel30,5 x 30,5 cm
Jack WhittenApollonian Hayride (For Alexis Tsipras) Good Luck2015acrylic on canvas157,5 x 157,5 cm
Jack WhittenEscalation IV2015acrylic on canvas121,9 x 121,9 cm
Jack WhittenSilver Centerfold2015acrylic on panel3 x (30,5 x 30,5 cm)
Jack WhittenCrystal Palaca: For Jeanne Siegel2014acrylic on canvas121,9 x 121,9 cm
Jack WhittenAtopolis: For Edouard Glissant2014acrylic on canvas (8 panels)316,2 x 631,2 cm
Jack WhittenSpace Busters III2014acrylic on panel121,4 x 121,4 cm
Jack WhittenEscalation I2014acrylic on canvas121,9 x 121,9 cm
Jack WhittenFormal Transimplants II2013acrylic on canvas111,8 x 167,6 cm
Jack WhittenFormal Transimplants I2013acrylic on canvas167,6 x 111,8 cm
Jack WhittenFeedback Loop I (for Cy Twombly)2012acrylic on canvas160 x 261 cm
Jack WhittenLoop #312012acrylic on panel20,3 x 20,3 cm
Jack WhittenLoop #222012acrylic and black CAT on canvas20,3 x 20,3 cm
Jack WhittenLoop #29 (Broken Circle)2012acrylic on canvas20,3 x 20,3 cm
Jack WhittenEaster Egg Hunt2012acrylic and urethane on panel61 x 73,7 cm
Jack WhittenApps for Obama2011acrylic on hollow core door213,36 x 231,14 cm
Jack Whitten82 Degrees F (27.777C) II2011acrylic on canvas81,3 x 76,2 cm
Jack WhittenMiss Fancy Pants : For My Summer Kitty2011acrylic on canvas170,2 x 170,2 cm
Jack Whitten82 Degrees F # I (27.7777C)2011acrylic on wood46,7 x 34,9 cm
Jack WhittenCultural Shift (A.K.A. The Lena Horne Jubilee)2010acrylic on canvas122,5 x 209 cm
Jack WhittenThe Saint James Brown Altarpiece2008acrylic and automotive enamel on canvas203,2 x 91,4 cm
Jack WhittenChief Blackcloud2000acrylic on ply61 x 61 cm
Jack WhittenTC'S Corner For My Uncle Thomas Cunningham 17 October 1920 - 27 January 19961996acrylic and recycled glass on canvas118,1 x 101,6 cm
Jack WhittenHannah's Spiral : For H. Wilke1993acrylic on canvas45,7 x 45,7 cm
Jack WhittenBessemer Dreamer II1992acrylic on canvas147,3 x 132,1 cm
Jack WhittenHomecoming: For Miles1992acrylic on canvas206,4 x 268 cm
Jack WhittenCherrypicker1990acrylic on canvas45,1 x 80 cm
Jack WhittenBill's Way for Bill De Kooning1990acrylic on canvas170,2 x 170,2 cm
Jack WhittenRed Cross for Naomi1980acrylic on canvas107 x 107 cm
Jack WhittenPersian Echo III1979acrylic on canvas55,8 x 55,8 cm
Jack WhittenPersian Echo I1979acrylic on canvas55,9 x 55,9 cm
Jack WhittenTaf III1978acrylic on canvas101,6 x 127 cm
Jack WhittenKSEE II1977acrylic on canvas131,1 x 100,6 cm
Jack WhittenZulu Tea Parlor1973acrylic on canvas181,6 x 152,4 cm
Jack WhittenOde to Monet #62010graphite and oil stick on rice paper30,5 x 40,7 cm
Jack WhittenOde to Monet #52010graphite and stick on rice paper67,3 x 50 cm
Jack WhittenOde to Monet #42010graphite and stick on rice paper67,3 x 50,8 cm
Jack WhittenSteel City #11973acrylic on canvas152,4 x 181,6 cm
Jack WhittenFifth Testing (Slab)1972acrylic on canvas88,9 x 90,2 cm
Jack WhittenFourth Testing (Slab)1972acrylic on canvas88,9 x 90,5 cm
Jack WhittenFirst Testing (Slab)1972acrylic on canvas135,5 x 178,7 cm
JACK WHITTEN: THE GREEK ALPHABET PAINTINGS
Dia Beacon, Beacon, United States of America November 18, 2022 - July 10, 2023
GRIEF AND GRIEVANCE: ART AND MOURNING IN AMERICA
New Museum, New York, United States of America January 27, 2021 - June 13, 2021
JACK'S JACK
Hamburger Bahnhof, Berlin, Germany March 29 - September 1, 2019
ODYSSEY: JACK WHITTEN SCULPTURE, 1963 - 2016
Museum of Fine Arts, Houston, United States of America March 3 - May 27, 2019
ODYSSEY: JACK WHITTEN SCULPTURE, 1963 - 2017
The Met Breuer, New York, United States of America September 6 - December 2, 2018
SANGUINE. LUC TUYMANS ON BAROQUE
Fondazione Prada, Milan, Italy October 18, 2018 - February 25, 2019
Baltimore Museum of Art, Baltimore, United States of America April 22 - July 29, 2018
SOUL OF A NATION: ART IN THE AGE OF BLACK POWER 1963 - 1983
Tate Modern, London, United Kingdom July 12, 2017 - October 22, 2017
Jack Whitten (1939, Bessemer, Alabama (US) – 2018, New York (US))
Jack Whitten's earliest experiments with painting date back to the 1960s, when he created dynamic works inspired by abstract expressionism. Noted for their raucous colours and density of gesture combined with topical content, these artworks manifested emotionally complex meditations on Dr. Martin Luther King, the Civil Rights Movement and the Vietnam War.
Experimentation turned to abstraction for Whitten in the 1970s. A new method of painting developed, one that resonated more closely with photography. Gesture was removed from the making of the work. The paint and canvas were ‘processed’, produced from large troughs of paint, dragged across the canvas with tools including squeegees, rakes and Afro combs. This process yielded palpable surface texture, line and void.
Paint became a metaphor for skin during the 1980s, when Whitten experimented with ‘casting’ acrylic paints and compounds to create new surfaces and textures. In contrast to the narrative-based and didactic pieces made by many Black artists during this period, Whitten’s works reintroduced gesture with aspects of sculpture and collage.
In the 1990s Whitten's experiments with paint as a medium progressed further towards sculpture, as he transformed paint compounds into tiles and applied them to the canvas as mosaics. These works allude to ancient architecture and murals, serving as both an homage to and memorial of celebrated public figures and intimate friends.
Jack Whitten had solo exhibitions at MoMA PS1 (New York), Hamburger Bahnhof (Berlin), Whitney Museum of American Art (New York), Walker Art Center (Minneapolis), Museum of Contemporary Art (San Diego), Wexner Center for the Arts (Columbus), The Aldrich Contemporary Art Museum (Ridgefield), Rose Art Museum (Waltham), The Studio Museum in Harlem (New York), Baltimore Museum of Art and Atlanta Contemporary Art Center.
Jack Whitten participated in both the Venice Biennale (2013) and the Whitney Biennial (1969 and 1972). His work featured in group shows at Tate Modern (London), The Menil Collection (Houston), Hammer Museum (Los Angeles), Fondazione Prada (Milan), Brooklyn Museum (New York), Haus der Kunst (Munich), New Museum (New York), Whitney Museum of American Art (New York), Kunstmuseum Stuttgart, MOCA (Los Angeles) and MCA (Chicago).
Jack Whitten joined the gallery in 2011.
curator: Kathryn Kanjo
Zeno X Gallery is honored to present a third solo show by the Afro-American abstract painter Jack Whitten (°1939, Bessemer, Alabama). The work of Jack Whitten is currently being celebrated by a retrospective, ‘Jack Whitten: Five Decades of Painting’, which opened at the Museum of Contemporary Art San Diego in September 2014, travels to the Wexner Center for the Arts in Columbus in May 2015, and onwards to the Walker Art Center in Minneapolis in September 2015.
For Zeno X, he has made a new body of paintings in which he continues to push the material possibilities of acrylic paint as applied to abstract painting. The so-called ‘death of painting’ has been alluded to over and over in recent history, yet Whitten categorically rejects that absurd assessment. These paintings remind us of pre-modernist historical references in their allusion to ancient mosaics. They also allude to concepts of space, time and its relationship to modern technology. Whitten’s worldview, based on his interest in quantum physics, cosmology, fractal geometry, topology, bio-engineering, mathematics, biology, chemistry, and psychology, provides the conceptual underpinnings of his paintings. Jazz music, philosophy and the collective memory of identity are a complex balancing act in his construction of a non-figurative abstract narrative. Whitten insists that his works are not an illustration of an idea. His titles are specific for each painting and provide a hook in our understanding of their meaning. He is a process-oriented artist who cultivates controlled gesture compressed through the materiality of paint. Whitten claims that the painting is the reproduction of a concept.
In 1964 he wrote on his studio wall “The image is photographic; therefore, I must photograph my thoughts.” In 1970 Jack Whitten abandoned figurative abstraction, and the brush, to distance himself from abstract expressionist painters such as Willem de Kooning, Franz Kline and Jackson Pollock. The studio became a laboratory. He constructed a large 3,5 by 6 meter drawing board on the studio floor, absolutely level and square to prevent any arbitrary movement of paint. The verb ‘to paint’ was replaced by the verb ‘to make’. He made a big tool, which he called ‘the developer’. With the developer, the picture plane was reduced to one gesture. This profound innovation is what allowed him to bypass the abstract expressionist masters: he had completed his first objective. Navigating through the 50 years of painting, distinct periods can be distinguished based on formal and technical evolutions. The ‘Slab paintings’, ‘Cut Acrylic’, and ‘Greek Alphabet Series’ mark the historical works dating from the seventies. In 1974 Jack Whitten was one of four artists in residence at the Xerox Corporation who were selected to experiment with their equipment and interact with their technicians. This experience was very influential to his studio practice. It was the Xerox experimentations that opened his mind to the possibility of paint as matter.
Whitten has always insisted that all art is about perception, but his interest in perception is its application to abstraction painting in particular. In October 2005 he explained the relation between abstraction and perception as the following:
“Abstraction is a particular tool of perception, akin to a microscope. Because of its present historical location in time and space, as evident within the history of painting, abstraction has slowly but surely plunged painters into the molecular dimensions of inner space. When abstract painters advanced beyond the dependence on nature’s abundant resources of symbolic references, they were forced internally into mind as matter. Mind as matter is uncharted territory: there are no maps, and new tools must be invented.”
In the 1980s, Whitten’s historical two-dimensional plane evolved into a concrete three-dimensional plane. His use of sculptural techniques involved the use of plaster of Paris molds from found objects cast in acrylic paint. This allowed the paint to operate without support. Therefore, the acrylic paint had become a medium of collage; this allowed him to address the problem of subject matter in abstraction. Jazz musicians, poets, family members, important members of the African-American community, honored as Black Monoliths are the subject of many paintings. For his current show, Alexander Grothendieck, a German-born French mathematician who played an important role in the development of modern algebraic geometry is the subject of Escalation II (x² + y² = 1) For Alexander Grothendieck; Leonard Nimoy know as ‘Dr. Spock’ on Star Trek is the subject of Vulcan Philosophy (“Infinite diversity in infinite combinations”) For: Dr. Spock.
In 1990 Whitten discovered that his acrylic skins that were used as collage could be cut into tesserae. Tesserae are the units in ancient mosaics. They also function as pixels, which are the units in contemporary electronic communication. Due to the complexity of process he divides it into three distinct processes: Construction, Deconstruction, Reconstruction. Construction is the building of the acrylic skin. Deconstruction is the literal cutting or breaking of the unit after freezing the skin. Reconstruction is the final making of the painting. In response to hand surgery in 2012, the tesserae disappeared into a unified wave surface with a three-dimensional line embedded in the wet acrylic surface, these are known as the Loop paintings. The current Escalation series continues the use of tesserae, but with a more explosive, organic energy. They reflect his interest in the molecular patterns found in particle physics. Cosmologically speaking, Whitten’s position is that the universe is both expanding and shrinking simultaneously.
Jack Whitten’s works are currently included in group shows at: Foundation De 11 Lijnen, Oudenburg; Hammer Museum, Los Angeles. Upcoming group shows will be at The Menil Collection, Houston; Kunstmuseum Stuttgart. For ‘Atopolis’, a group show in Mons curated by Dirk Snauwaert, Whitten has created a monumental piece that will be on view from 13 June until 18 October 2015. His work has been exhibited in the 1969 and 1972 Whitney Annuals at the Whitney Museum of American Art, New York; and a landmark 1974 solo exhibition at the Whitney Museum of American Art. Recently, Whitten’s work has been featured at the Brooklyn Museum (2014); Museum Dhondt-Dhaenens, Deurle (2014), 55th Venice Biennale (2013); among others. His work is represented in the collections of the Museum of Modern Art, New York; Metropolitan Museum of Art, New York; Tate Modern, London; Whitney Museum of Art, New York; Birmingham Museum of Art; Brooklyn Museum, New York; Aldrich Museum, Ridgefield; Cleveland Museum of Art, Cleveland; Columbia University, New York; Fogg Art Museum of Art, New York; High Museum of Art Atlanta, Atlanta; Museum of Contemporary Art San Diego, San Diego; Newark Mseum; Newark; Palm Springs museum, Palm Springs; Princeton Art Museum, Princeton; Rose Art Museum, Waltham/Boston; SFMOMA, San Francisco; Studio Museum of Harlem, New York; Wadsworth Atheneum Museum of Art, New York; Walker Art Center, Minneapolis and Dallas Museum of Art, Dallas among others.
KEES GOUDZWAARD
The paintings by Kees Goudzwaard are bright, controlled and hide any emotional presence of its maker. Being a Dutch painter, Goudzwaard can’t deny the influence of Dutch Modernism. Especially De Stijl was inspiring for the development of his oeuvre. Each painting by Goudzwaard is based on a model. He combines colored paper, transparent acetates and tape just the way a collage would be organized. It’s a slow process of shifts and superpositions. Scale, color, form and composition challenge each other on a formal level. Goudzwaard acts according to his own logic. Finally he aims for a balance between all the components of the painting. In ‘Slow Rocking’ and ‘Collected’ we recognize the discipline and the almost mathematical structuring of the surface as we see in earlier work. This in contrast to the more playful, organic and open composition in ‘Grisaille’, ‘Study’ & ‘Assembling the Smaller Parts’. In those works the borders determine the tension within the painting.
Solo exhibitions by Kees Goudzwaard where installed at S.M.A.K. in Ghent, Culturgest in Lisbon, the Museum of Modern Art in Arnhem and at the Stedelijk Museum Schiedam. In 2003 he was invited to create a site-specific installation in Mexico City. His work was part of group exhibitions at Kröller-Müller Museum in Otterlo, Museum Kunst Palast in Düsseldorf, Roger Raveel Museum in Machelen-Zulte, Ecole des Beaux Art in Paris, Lokaal 01 in Breda, De Vleeshal in Middelburg and Castillo Corrales in Paris. Last year his work was included in the Biennial for Contemporary Art in Rennes.
BART STOLLE
Time and motion, that’s the start of the oeuvre of the young Belgian artist Bart Stolle (°1974). In the eighties he experienced as a teenager the introduction of commercial television and how images accumulate. Especially the personal computer and the internet change the gaze and the references. Since the invention of smart phones and tablets contemplation becomes even more difficult. Our society is saturated by speed, information and high-tec. Stolle investigates this phenomenon and choses to slow down. He focuses, mingles and (re)constructs. This leads to an oeuvre hold together under the flag ‘Low Fixed Media Show’, an advertising agency for himself or an alternative entertainment company. Despite all evolutions, Stolle is still convinced human beings dominate the machine. Creativity is a human thing that’s currently not mechanical. Stolle observes the world and translate it into humorous animations in which human figures are reduced to an arrangement of geometrical forms. Handicraft is high valued. He doesn’t want to pass on calculations to the computer. He prefers an intensive stop-motion practice over the input of parameters.
The same happens when Stolle paints, when he makes a static image. The result is a slow construction of essential units. Here we notice the influence of Modernism. Especially De Stijl, Suprematism with Malevich and the work by Kandinsky animate him. The personal alphabet of forms and colors Stolle creates is a means to express larger structures without illustrating them. He investigates the similarities between the logic of a computer and of a human and analyzes different society structures. Also his interest in communication systems, music, science, architecture and urbanization echoes through his oeuvre. He reconciles poles such as the virtual with reality, black with white, the organic with mechanics and so on. As much interesting for Stolle is the moment where the viewer attempts to put his images into words. Poetry, philosophy and fantasy emerge while translating.
Solo exhibitions by Bart Stolle were on view in S.M.A.K. in Ghent, De Brakke Grond in Amsterdam and STUK in Leuven. He was invited for group shows at MUHKA in Antwerp, De Loketten of the Flemish Parliament in Brussels, Coup de Ville in Sint-Niklaas, Buda Art center in Kortrijk, Centrum for Contemporary Art in Warsaw and the Museum of Contemporary Art in Shanghai.
JACK WHITTEN
Beginning of the seventies Jack Whitten (°1932) makes a decision that determines his complete oeuvre. He takes a distance of Abstract Expressionism, a movement that inspired him strongly during his years at Cooper Union in New York. He interchanges brush and figuration for instruments and abstraction. From that moment on a painting is no longer painted but constructed. Whitten investigates the characteristics of acrylic by boiling it, freezing it, laminating it, crushing it, casting it and spreading it all over. After collecting all his material and his tools, he starts building up the image as a collage. Since the eighties the sculptural and topographical quality of his paintings rises. His works on paper are always ahead of his paintings. He works with the concept of ‘working drawings’. The painting is not an illustration of an idea nor is the painting a reproduction of a drawing. The drawings operate as scouts always advancing ahead using process to search for new possibilities. Process as subject matter gives him a freedom to explore uncharted territory. In his work he reflects about philosophy, science, technology and use it as a mean to honor and commemorate people. Whitten’s abstract paintings aren’t cold, geometrical, anonymous and predictable. They are innovative, full of live, directed by controlled coincidences and strive for universality.
Work by Jack Whitten was part of important exhibitions such as the ‘Annual Exhibition of Contemporary American Painting’ (1969,1972) in the Whitney Museum of American Art in New York and ‘Afro-American Abstraction: An Exhibition of Contemporary painting and sculpture by Nineteen Black American Artists’ (1980) organized by the Institute for Art and Urban Resources and MoMA P.S.1 Center for Contemporary Arts in New York. In 1974 he got his first solo show at the Whitney Museum of American Art in New York. More recently MoMA P.S.1 Center of Contemporary Arts in New York and Atlanta Contemporary Art Center organized a solo exhibition. The Museum of Contemporary Art in San Diego is preparing a retrospective for 2014.
His work is in the collection of museums amongst which Museum for Modern Art (MoMA) in New York, Whitney Museum in New York, Studio Museum in Harlem, Metropolitan Museum in New York, Wadsworth Atheneum Museum of Art in Hartford, Museum for Contemporary Art Chicago, Dallas Museum of Art and Tate Modern in London.
Anh TrầnSearching the Sky for Dreams (And the night was dark and it illuminated the night)2023acrylic, oil and Flashe (vinyl paint) on linen244 x 366 cm
Marlene DumasPortrait of Jack Whitten2023oil on canvas60 x 50 cm
Miriam CahnSoldat1997oil on canvas30 x 22 cm
Miriam CahnRoh1998oil on canvas100 x 95 cm
Miriam CahnLanghaariger1998oil on canvas80 x 46 cm
Moshekwa LangaEmergence2022 - 2023coffee grounds, alabastine, acrylic paint, pigment, paint lacquer, ink, soil and collage on paper155 x 160 cm
Moshekwa LangaNtotoke2020 - 2023Indian ink, acrylic paint, iridescent pigment, pigment and ink on paper162 x 122 cm
Moshekwa LangaNandemone2020 - 2023Indian ink, acrylic paint, iridescent pigment, pigment and ink on paper162 x 122 cm
Jack WhittenSoul Map2015acrylic on canvas114,3 x 488,7 cm
Leah Ke Yi ZhengFusée (sanity)2023acrylic, ink, bleach on silk over mahogany stretcher213 x 160 cm
Leah Ke Yi ZhengUntitled (fusée)2023pigments and acrylic on silk over mahogany stretcher29,8 x 25,4 cm
Leah Ke Yi ZhengUntitled (Helmut Kolle)2023pencil and ink on silk over mahogany stretcher22,9 x 17,8 cm
Leah Ke Yi ZhengNo.162023oil on silk over mahogany stretcher98,4 x 73,7 cm
Mary HeilmannThe Glass Bottomed Boat1995oil on canvas152,5 x 120 cm
Mary HeilmannJohngiorno1995oil on canvas196 x 146 cm
Rosalind NashashibiHeavy Moth2022oil on linen120 x 150,5 cm
Rosalind NashashibiPunch in Love (She’s Getting Stronger)2023oil on linen110 x 85 cm
Dan ZhuTake off and run2022 - 2023acrylic on paper287 x 456 cm
Dan ZhuMountains2023pigment and watercolor on birch panel50 x 40 cm
Dan ZhuEars speak2023watercolour on paper70 x 99 cm
Sanya KantarovskyFather2023oil on linen40,6 x 30,5 cm
Mounira Al SolhMusic Cover of an Inexistent Song2023collage, pen, ink, soft pastels and oil on canvas24 x 18 cm
Mounira Al SolhMusic Cover of an Inexistent Song2023collage, pen, ink, soft pastels and oil on canvas23,8 x 18 cm
Strauss Bourque-LaFranceAfter the Witches of Spa2023acrylic, Flashe (vinyl paint), graphite, canvas collage and adhesives on canvas203,2 x 193 cm
Strauss Bourque-LaFranceServing in the Swell2023acrylic, Flashe (vinyl paint), graphite, canvas collage and adhesives on canvas203,2 x 193 cm
Mounira Al SolhShe Woke up the Radio2022oil on canvas86 x 68 cm
Mounira Al SolhPassion Teapots and the Birth of Al Hamza, On Fire2023oil, charcoal, pencil, pigment and turmeric on canvas119 x 171,5 cm
Photo: Peter CoxCourtesy Zeno X Gallery, AntwerpSoul Mapping - installation view
Luc TuymansHappy Birthday2023oil on canvas218 x 131 cm
Jack WhittenSeven Loops For Elizabeth Murray2011acrylic on canvas
Marina RheingantzMaria Ruth2023oil on canvas150 x 130 cm
Raoul De KeyserSketch (La Mancha)2006oil on canvas, charcoal and gesso100 x 125 cm
Marlene DumasBermuda Triangle2000oil on canvas100 x 56 cm
Marina RheingantzBraquiaria2022oil on linen130 x 110 cm
Salman ToorLoincloth Man2023oil on panel61 x 45,7 cm
Strauss Bourque-LaFranceLA L'AGUNA2023acrylic, Flashe (vinyl paint), graphite, canvas collage and adhesives on canvas30,5 x 40,6 cm
Strauss Bourque-LaFranceDusk Chain2023acrylic, Flashe (vinyl paint), graphite, canvas collage and adhesives on canvas50,8 x 40,6 cm
Strauss Bourque-LaFranceOld Yolk2023acrylic, Flashe (vinyl paint), graphite, canvas collage and adhesives on canvas38,1 x 50,8 cm
Raoul De KeyserRests2007acrylic and gesso on canvas56 x 71 cm
Photo: Bill Jacobson StudioCourtesy Dia Art FoundationInstallation view
Martin MargielaBodypart b&w2018 - 2020oil pastel on projection screen123 x 222 x 8 cm
N. DashUntitled2022earth, acrylic, canvas, fabric, silkscreen ink, jute151,13 x 78,74 cm59,5 x 31 in
Pietro RoccasalvaStudy for Giocondità2022oil on canvas48 x 64 cm
Kim JonesUntitled2001 - 2007acrylic and ink on photograph45,7 x 30,5 cm
Jenny ScobelAmanda (II)2011pencil, watercolour and wax on gessoed wood81,3 x 61 cm
Pélagie GbaguidiCare2020dry pastel and wool on paper21 x 29 cm
Pélagie GbaguidiCare2020dry pastel on paper29 x 21 cm
Mircea SuciuStudy for "Empathy for Destruction"2022oil, acrylic, liquin, charcoal and varnish on linen70 x 50 cm
Marina RheingantzSexy X2022oil on canvas130 x 110 cm
Jockum NordströmCat Dog Cat2016collage, watercolour and graphite on paper40 x 50 cm
Hyun-Sook Song9 Brushstrokes2017tempera on canvas130 x 70 cm
Jan De MaesschalckImpersonation (based on a photo by Johan Jacobs)2022oil on canvas65,2 x 55,2 cm
Yun-Fei JiThe Dead Are also Moving2007mineral pigments and ink on rice paper89,5 x 97 cm
Grace SchwindtGuard2022ceramic and bronze (edition of 3 + 1 AP)53 x 9 x 9 cm
Kees GoudzwaardOn Display2022oil on canvas70 x 60 cm
Susan HartnettOct. 11 2011 #2, Blue-joint grass (Calamagrostis canadensis)2011charcoal on paper56,5 x 76 cm
Philip Metten2203222022oil and thread on canvas23,1 x 23,2 cm
Paulo MonteiroUntitled2016oil on bronze (edition of 3 + 1 AP)56 x 2 x 4 cm
Paulo MonteiroUntitled2018oil on bronze (edition of 3)16,6 x 10,5 x 4,8 cm
Paulo MonteiroUntitled2016bronze (edition of 2 + 1 AP)18,5 x 62 x 22,5 cm
Naoto KawaharaNaked Girl2022oil on canvas72,8 x 53,4 cm
Bart StolleUntitled (Heat upon Heat)2022acrylic on canvas40 x 40 cm
Photo: Peter CoxCourtesy Zeno X Gallery, AntwerpInstallation view
Photo: Mathias VölzkeCourtesy the Jack Whitten Estate and Hauser & Wirth, and Staatliche Museen zu Berlin, NationalgalerieInstallation view
Photo: Mitro HoodCourtesy The Baltimore Museum of ArtInstallation view
Dirk BraeckmanP.T.-B.R.-17 #22017gelatin silver print mounted on aluminium support120 x 80 cm (unique)
Kim JonesUntitled2008acrylic and ink on board50,8 x 76,2 cm
Kim JonesUntitled2008acrylic and ink on board50 x 76 cm
Mark MandersFalling Dictionaries2018offset print and acrylic on paper, chicken wire, aluminium
Marlene DumasThe Politics of Recognition / Onze Vaders1991ink on pape
Michaël BorremansThree Degrees2017pencil and ink on paper14,1 x 21,1 cm
Philip MettenC-1022017collage on paper53,5 x 49,5 cm
Philip MettenC-1012017collage on paper57,5 x 46 cm
Philip MettenC-1082017collage on paper54 x 50,6 cm
Philip MettenC-0572016collage on paper9,4 x 9,3 cm
Philip MettenC-1052017collage on paper20,9 x 20,4 cm
Patrick Van CaeckenberghDen Beggaard2018mixed media52 x 110 cm
Pietro RoccasalvaStudy for Il Traviatore2017acrylic on paper69,8 x 43,1 cm
Pietro RoccasalvaStudy for Il Traviatore2010acrylic on paper69,5 x 47 cm
Paulo MonteiroUntitled201322k gold and gouache on paper25,5 x 18,5 cm
Paulo MonteiroUntitled201622k gold and gouache on paper14 x 9 cm
Paulo MonteiroUntitled201722k gold and ecoline on pape
Paulo MonteiroUntitled2016gouache on paper31 x 27,5 cm
Hyun-Sook SongUntitled2013tempera on paper25,4 x 34,7 cm
Hyun-Sook SongUntitled2017tempera on paper26 x 32,2 cm
Hyun-Sook SongUntitled2015tempera on paper20,5 x 28,4 cm
Hyun-Sook SongUntitled2012tempera on paper34 x 23,7 cm
Jack WhittenLooking For Bin Laden #8 (Second Set)2008toner on rice paper61 x 82,6 cm
Jack WhittenSpace Flower #42006acrylic, pastel, powdered Mylar on rice paper20,3 x 19,1 cm
Jack WhittenSpace Flower #22006acrylic, pastel, powdered Mylar on rice paper21 x 19,1 cm
Luc TuymansUntitled2017graphite on pape
Jockum NordströmBjörnen sover (the Bear is sleeping)2017collage, watercolour and pencil on paper97 x 71 cm
Jockum NordströmSjukhusparken (Hospital park)2017collage, watercolour and graphite on paper72 x 104 cm
Jockum NordströmSent by Hand2008graphite on paper45 x 60 cm
Jockum NordströmStage Whisper2008graphite on paper42 x 30 cm
Photo: Peter CoxCourtesy Zeno X Gallery - Antwerp
Susan HartnettOct. 8 2011 #3, Blue-joint grass (Calamagrostis canadensis)2011charcoal on paper56,5 x 76 cm
Susan HartnettNov. 25 2011 #2, Blue lyme grass (Leymus arenarius)2011charcoal on paper56,5 x 76 cm
Susan HartnettOct. 18 2011 #2, Blue-joint grass (calamagrostis canadensis)2011charcoal on paper56,5 x 76 cm
Jockum NordströmConsultation2016collage, watercolour and graphite on paper52 x 65 cm
Jack WhittenLoop #24 (Spiral)2012acrylic on canvas20,3 x 20,3 cm
Jockum NordströmLies about the Truth2016collage, watercolour and graphite on paper50 x 40 cm
Jockum NordströmDistress2016collage, watercolour and graphite on paper65 x 45 cm
Susan HartnettJan. 18 '03, Mar. 21 '07, River receives sleety snow2007pastel, oil pastel, charcoal, graphite, cryaon, crushed shell on pape
Jack WhittenLoop #23 (Spiral)2012acrylic on canvas20,3 x 20,3 cm
Dirk Braeckman1/1 - P023 a - 2015 - 1/12015gelatin silver print reversibly mounted on aluminium support90 x 60 cm
Dirk Braeckman1/1 - P021 a - 2015 - 1/12015gelatin silver print reversibly mounted on aluminium support90 x 60 cm
Dirk BraeckmanC.I.-O.M. - 15 - 20152015gelatin silver print reversibly mounted on aluminium support (1 of 3)180 x 120 cm
Jockum NordströmParklife2016collage, watercolour and graphite on paper65 x 45 cm
Jockum NordströmStjärntydare / Astrologist2016collage, watercolour and graphite on paper45 x 31 cm
Photo: Peter CoxCourtesy Zeno X Gallery - AntwerpInstallation view
Photo: Gene PittmanCourtesy Walker Art CenterInstallation view
Jack WhittenEscalation II (x² + y² = 1) For Alexander Grothendieck2014acrylic on canvas121,9 x 121,9 cm
Jack WhittenCompressed Space III2015acrylic on ply panel30,5 x 30,5 cm
Jack WhittenCompressed Space I2015acrylic on ply panel30,5 x 30,5 cm
Jack WhittenEscalation III2015acrylic on canvas121,9 x 121,9 cm
Jack WhittenThe Protagonist2015acrylic on ply panel40,6 x 40,6 cm
Jack WhittenQueen Bee2015acrylic on ply panel40,6 x 40,6 cm
Susan HartnettDec. 12 2011 #1, Blye lyme grass (Leymus arenarius)2011charcoal on paper56,5 x 76 cm
John KörmelingNew Friend, Maasplein Utrecht1995pencil on paper29,7 x 21,0 cm
John KörmelingAutovrije Stad2002pencil on paper29,7 x 21,0 cm
John KörmelingWatertaxi, Hotel New York Rotterdam1999pencil on paper21,0 x 29,7 cm
John KörmelingDrive-In Wheel, Mobile Fun1999pencil on pape
John KörmelingBetter City, Better Life, Happy Street - Het Interieur is Buiten2006pencil on paper30,0 x 42,5 cm
John KörmelingMotel Vianen2012pencil on paper21,0 x 29,7 cm
Pietro RoccasalvaStudy for Il Traviatore2013charcoal on paper12,3 x 16,5 cm
Pietro RoccasalvaStudy from Just Married Machine2014charcoal and pastel on paper26,5 x 65 cm
Pietro RoccasalvaStudy for Il Traviatore2014charcoal on paper54,8 x 27,2 cm
John KörmelingSociale Weg (Socialized Road)2001pencil on paper29,7 x 21 cm
John KörmelingHet Nederlands Paviljoen 2010, Happy Street2006pencil on paper30 x 52 cm
Jack WhittenRadiator Drawing #22010graphite on rice paper49,5 x 68,5 cm
Jack WhittenRadiator Drawing #32010graphite on rice paper49,5 x 68,5 cm
Jack WhittenSyntax #112010dry pigment on rice paper17,1 x 59,7 cm
Jack WhittenSyntax #122010dry pigment on rice paper15,9 x 62,2 cm
Marlene DumasJ.H.1992ink and crayon on paper20,5 x 14 cm
Luc TuymansGood Advice2014gouache on paper40,4 x 29,7 cm
Luc TuymansAllo!2014watercolour on paper11 x 80,5 cm
Luc TuymansThunderbirds2014pastel on paper29,5 x 17 cm
Luc TuymansPanel2014gouache on paper42 x 29,7 cm
Pietro RoccasalvaStudy for Il Traviatore2013charcoal on paper12 x 15 cm
Jan De MaesschalckLes Doublures (The Understudies)2014acrylic on paper47 x 65 cm
Jan De MaesschalckLooking Back2014acrylic on paper55 x 36,5 cm
Jan De MaesschalckUntitled (Long Distance Call)2014acrylic on paper43 x 36,7 cm
Jan De MaesschalckUntitled (In Memoriam Card)2014acrylic on paper40 x 36,5 cm
Jan De MaesschalckTale of Chivalry2014acrylic on paper42,4 x 33 cm
Johannes KahrsUntitled2013graphite on paper72,4 x 54 cm
Johannes KahrsUntitled2013graphite on paper98 x 76,9 cm
Johannes KahrsUntitled2013graphite on paper61,8 x 74,9 cm
Johannes KahrsOT (Plan)2013graphite on paper51 x 51 cm
Marlene DumasPoging 8 tot het Verbeelden van Jan Hoet1992ink and crayon on paper20,5 x 13,5 cm
Marlene DumasPortret Jan Hoet1992ink and crayon on paper20,5 x 14,7 cm
Marlene DumasPortret voor JH1992ink and crayon on paper20,5 x 15 cm
Photo: Philipp Scholz RittermannCourtesy of the Museum of Contemporary Art San DiegoInstallation view
Bart StolleFixed media language valley2007 - 2009acrylic and varnish on canvas150 x 100 cm
Device #12012acrylic on wood40 x 37 cm
Jack WhittenLoop #432012acrylic and black CAT on canvas182,9 x 121,9 cm
Jack WhittenSlave Knots / AKA Granny Knots2012acrylic and urethane on panel58,9 x 58,9 cm
Jack WhittenLoop #422012acrylic and black CAT on canvas121,9 x 121,9 cm
Jack WhittenVirgin Space, Loop #182012acrylic and black CAT on canvas30,5 x 30,5 cm
Jack WhittenCultural Artifacts2012acrylic and urethane on panel58,7 x 58,7 cm
Jack WhittenLoop #28 (Spiral)2012acrylic on panel20,3 x 20,3 cm
Jack WhittenLoop #272012acrylic on panel20,3 x 20,3 cm
Jack WhittenVirgin Space, Loop #192012acrylic and black CAT on canvas30,5 x 30,5 cm
Jack WhittenVirgin Space, Loop #202012acrylic and black CAT on canvas30,5 x 30,5 cm
Jack WhittenElizabeth Catlett Triptych (Second Set)2012acrylic and black CAT on panel3 x (50,8 x 40,6 cm)
Loop #30 (Broken Circle)2012acrylic on canvas20,3 x 20,3 cm
Jack WhittenLoop #25 (Spiral)2012acrylic on canvas20,3 x 20,3 cm
Jack WhittenOde to Monet #12010oil stick on rice paper30,5 x 42 cm
Jack WhittenOde to Monet #22010oil stick on rice paper30,5 x 42 cm
Jack WhittenSyntax #132010dry pigment on rice paper17,1 x 59,7 cm
Jack WhittenThe Wall2009acrylic on canvas86,9 x 79,7 cm
Jack WhittenReclamation: For Roy De Carava2010acrylic on canvas112,4 x 504,2 cm
Aldrich Museum, Ridgefield, United States of America Birmingham Museum of Art, Birmingham, United States of America Cleveland Museum of Art, Cleveland, United States of America Columbia University, New York, United States of America Dallas Museum of Art, Dallas, United States of America Fogg Art Museum at Harvard, Cambridge, United States of America High Museum of Art Atlanta, Atlanta, United States of America Metropolitan Museum of Art, New York, United States of America MoMA Museum of Modern Art, New York, United States of America Museum of Contemporary Art San Diego, San Diego, United States of America Newark Museum, Newark, United States of America Palm Springs Museum, Palm Springs, United States of America Princeton Art Museum, Princeton, United States of America Rose Art Museum, Brandeis University, Waltham/Boston, United States of America SFMOMA San Francisco Museum of Modern Art, San Francisco, United States of America Studio Museum of Harlem, New York, United States of America Tate Gallery, London, United Kingdom Wadsworth Atheneum Museum of Art, New York, United States of America Walker Art Center, Minneapolis, United States of America Whitney Museum of American Art, New York, United States of America
“Jack Whitten’s ‘Lost Chapter’, Now at Dia:Beacon” The New York Times, article by Aruna D’Souza (online) December 2022
“It’s All About Materiality: Watch Jack Whitten Experiment With the Physicality of Paint in His Abstract Artworks” ArtNet News, article (online) November 2022
“The art and wisdom of Jack Whitten” Apollo, article by Richard Shiff (online) January 2018
“Portfolio Jack Whitten” Modern Painters, article by M.P. (p.21-23) September 2013
“Jack Whitten: Committing Abstract Thoughts to Canvas” The Wall Street Journal, article by Andy Battaglia (online) February 2013
“Jack Whitten Portfolio. When does an image end?” Artforum, vol. 50, no.6, article by Michelle Kuo (p.184-195) February 2012
“Process, Image and Elegy” Art in America, article by Saul Ostrow (p.148-153;183) April 2008
“Jack Whitten with Robert Storr” The Brooklyn Rail, article by Robert Storr (online) September 2007
Dia Art FoundationNew York, United States, 2023212 pages, ISBN 9780944521991
Prestel Verlag, Nationalgalerie & Staatliche MuseumMunich, London & New York, 2019237 pages, ISBN 9783886098163
The Baltimore Museum of ArtBaltimore, United States, 2018191 pages, ISBN 9781941366172
Museum of Contemorary Art San DiegoSan Diego, United States, 2015192 pages, ISBN 9780934418744
Alexander Gray AssociatesNew York, United States, 201339 pages
Zeno X GalleryAntwerp, Belgium, 201147 pages
Atlanta Contemporary Art CenterAtlanta, United States, 200870 pages, ISBN 9780615199658