Brice Marden (1938-2023)
Polke Letter, 2010-11
Oil on linen, 72 x 96 inches

seen from United States

seen from Australia
seen from Australia
seen from T1
seen from China
seen from T1
seen from United States

seen from Malaysia
seen from China

seen from United States
seen from United States
seen from Germany

seen from United States

seen from Guatemala
seen from Yemen

seen from Türkiye
seen from China

seen from Malaysia
seen from Germany
seen from China
Brice Marden (1938-2023)
Polke Letter, 2010-11
Oil on linen, 72 x 96 inches
Brice Marden, Untitled, 1961. Etching and aquatint, on Rives BFK paper, 20 1/10 × 15 1/10 in | 51.1 × 38.4 cm. Via artsy.net.
Untitled, Brice Marden, 1969, MoMA: Drawings and Prints
The Judith Rothschild Foundation Contemporary Drawings Collection Gift Size: 22 x 29 1/2" (55.9 x 74.9 cm) Medium: Graphite and wax on paper
http://www.moma.org/collection/works/96604
Print from "Etchings to Rexroth", Brice Marden, 1986, Brooklyn Museum: Contemporary Art
Size: sheet: 19 1/2 x 16 in. (49.5 x 40.6 cm) image: 8 x 6 3/4 in. (20.3 x 17.1 cm) Medium: Sugar lift, aquatint, open bite, drypoint and scraping on paper
https://www.brooklynmuseum.org/opencollection/objects/115046
Robert Singer
Rara Avis
2021
48”x36”
Acrylic and metal paint on canvas
”10”, 2008-18
#bricemarden #writing #amwriting #screenwriting #scriptchat #songwriting #tvwriting #nycgratitude #painting #freecaleo (at Saint John's, Antigua and Barbuda) https://www.instagram.com/p/B7u0q8oh_pa/?igshid=pcr3yjz2nuo0
A new show of Brice Marden’s “Cold Mountain” drawings at “T” Space in Rhinebeck, NY and an out-of-the-box review in the New Yorker comparing Marden’s work to that of the American nature painter Thomas Cole has led us to re-evaluate our approach to the hundreds of similar works executed by Judith Lindbloom in the late 1950s. We have always placed them within the context of the automatism of Pollock and other New York School painters, and I still think that is the right approach, but maybe not the only approach. Peter Schjeldahl suggests that Marden’s work mimics “the incessantly recurring surprise of specific moments in a ceaseless cycle,” that is the cycle of the natural world. The work leads us back to nature, not away from it. @tspaceandsmhf @peterschjeldahl #thomascole #bricemarden @judith_lindbloom #artoftheday #modernart #contemporaryart #americanart #artonpaper #abstractart #abstractexpressionism #rhinebeck https://www.instagram.com/p/ByUDaesAETl/?igshid=1w5f5uz5f22s2