John Cage 2R + 13.14 (where R=Ryoanji); R2/2 (where R=Ryoanji); R3 (where R=Ryoanji); R2/3 (where R=Ryoanji); R2/1 (where R= Ryoanji); and (R3) (where R=Ryoanji) 1983 Six drypoints, on J Whatman paper, with full margins, all I. 6 7/8 x 21 in. (17.5 x 53.3 cm) all S. 9 1/8 x 23 1/4 in. (23.2 x 59.1 cm) all signed, titled, dated `83' and numbered 13/25 or 20/25 in pencil, published by Crown Point Press, San Francisco (with their blindstamp), all framed.
Literature Judith Brodie and Adam Greenhalgh p. 41, pl. 12.1-12.3 Catalogue Essay This series takes its title and inspiration from the famous Zen rock garden in Kyoto, Japan where Cage traced a selection of stones positioned by chance calculations. The Ryoanji prints were an extension of a tracing of fifteen stones Cage had made in pencil the year before, and like a mathematical formula, each print’s title dictated the number of times each stone was outlined. Read More
John Cage 2R + 13.14 (where R=Ryoanji); R2/2 (where R=Ryoanji); R3 (where R=Ryoanji); R2/3 (where R=Ryoanji); R2/1 (where R= Ryoanji); and (R3) (where R=Ryoanji) 1983 Six drypoints, on J Whatman paper, with full margins, all I. 6 7/8 x 21 in. (17.5 x 53.3 cm) all S. 9 1/8 x 23 1/4 in. (23.2 x 59.1 cm) all signed, titled, dated `83' and numbered 13/25 or 20/25 in pencil, published by Crown Point Press, San Francisco (with their blindstamp), all framed.
Literature Judith Brodie and Adam Greenhalgh p. 41, pl. 12.1-12.3 Catalogue Essay This series takes its title and inspiration from the famous Zen rock garden in Kyoto, Japan where Cage traced a selection of stones positioned by chance calculations. The Ryoanji prints were an extension of a tracing of fifteen stones Cage had made in pencil the year before, and like a mathematical formula, each print’s title dictated the number of times each stone was outlined. Read More
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