Untitled (Empire State Building)

COLLECTION NAME:

The AMICA Library

mediaCollectionId

AMICO~1~1

The AMICA Library

Collection

true

AMICA ID:

DMA_.1995.147

amicoid

DMA_.1995.147

AMICA ID

false

AMICA Library Year:

2003

aly

2003

AMICA Library Year

false

Object Type:

Drawings and Watercolors

oty

Drawings and Watercolors

Object Type

false

Creator Name:

Moskowitz, Robert

crn

Moskowitz, Robert

Creator Name

false

Creator Dates/Places:

American, born 1935

cdt

American, born 1935

Creator Dates/Places

false

Creator Name-CRT:

Robert Moskowitz

crt

Robert Moskowitz

Creator Name-CRT

false

Title:

Untitled (Empire State Building)

otn

Untitled (Empire State Building)

Title

false

View:

Full View

rid

Full View

View

false

Creation Date:

1980

oct

1980

Creation Date

false

Creation Start Date:

1980

ocs

1980

Creation Start Date

false

Creation End Date:

1980

oce

1980

Creation End Date

false

Materials and Techniques:

Graphite, pastel on paper

omd

Graphite, pastel on paper

Materials and Techniques

false

Dimensions:

Overall: 106 x 31 1/4 in. (269.24 x 79.38 cm.)

met

Overall: 106 x 31 1/4 in. (269.24 x 79.38 cm.)

Dimensions

false

AMICA Contributor:

Dallas Museum of Art

oon

Dallas Museum of Art

AMICA Contributor

false

Owner Location:

Dallas, Texas, USA

oop

Dallas, Texas, USA

Owner Location

false

ID Number:

1995.147

ooa

1995.147

ID Number

false

Credit Line:

Dallas Museum of Art, gift of Marguerite and Robert K. Hoffman

ooc

Dallas Museum of Art, gift of Marguerite and Robert K. Hoffman

Credit Line

false

Rights:

http://www.DallasMuseumofArt.org

orl

<a href="http://www.DallasMuseumofArt.org"target="_new">http://www.DallasMuseumofArt.org</a>

Rights

false

Context:

Robert Moskowitz has blended the border between literalness and abstraction since the 1960s. In the 1970s, he became a prominent leader of the New Image movement (from the Whitney Museum's 1978 exhibition "New Image Painting"). Following a decade dominated by minimalism, this group of artists, which included Nicholas Africano, Neil Jenney, and Susan Rothenberg, brought back figural imagery as a vital formal tool as well as a psychologically charged instrument.Moskowitz is interested in architectural structures as a means to explore the balance between abstraction and representation. In the 1970s he created "rooms," an arrangement of doorways, corners, and beams on a single color field, which relates to American precisionism, most notably the work of Demuth and Sheeler. In the late 1970s and the early 1980s, Moskowitz began to create epic-scale works of Western cultural and popular icons?Rodin's "Thinker," Brancusi's "Bird," the Empire State Building, the World Trade Center, the Flatiron Building?as well as smokestacks and lighthouses. These concise, familiar images on elusive, textured bckgrounds reveal Moskowitz's connections to both pop art and abstract expressionism.Tall and thin, the iconic "Empire State Building" appears to rise endlessly against a dark background. It contains a wonderful tension between surface and depth. Parts of the building, alternately solid and dappled, are luminous. Of both monumental and human scale, this image ironically elicits feelings of grandeur and intimacy."Dallas Museum of Art: A Guide to the Collection," page 289

cxd

Robert Moskowitz has blended the border between literalness and abstraction since the 1960s. In the 1970s, he became a prominent leader of the New Image movement (from the Whitney Museum's 1978 exhibition "New Image Painting"). Following a decade dominated by minimalism, this group of artists, which included Nicholas Africano, Neil Jenney, and Susan Rothenberg, brought back figural imagery as a vital formal tool as well as a psychologically charged instrument.Moskowitz is interested in architectural structures as a means to explore the balance between abstraction and representation. In the 1970s he created "rooms," an arrangement of doorways, corners, and beams on a single color field, which relates to American precisionism, most notably the work of Demuth and Sheeler. In the late 1970s and the early 1980s, Moskowitz began to create epic-scale works of Western cultural and popular icons?Rodin's "Thinker," Brancusi's "Bird," the Empire State Building, the World Trade Center, the Flatiron Building?as well as smokestacks and lighthouses. These concise, familiar images on elusive, textured bckgrounds reveal Moskowitz's connections to both pop art and abstract expressionism.Tall and thin, the iconic "Empire State Building" appears to rise endlessly against a dark background. It contains a wonderful tension between surface and depth. Parts of the building, alternately solid and dappled, are luminous. Of both monumental and human scale, this image ironically elicits feelings of grandeur and intimacy."Dallas Museum of Art: A Guide to the Collection," page 289

Context

false

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Untitled (Empire State Building)