Image 1 of 1
Image 1 of 1
Image 1 of 1
Image 1 of 1
January 1978. Steel. Dimensions: 74 × 45 × 5 in (188 × 114 × 13 cm).
Gallery Easel is part of my Gallery Drawing Series, which marked a shift from the concentrated physical forces of my earlier tensegrity, or Brute Series, toward a more conceptual and linear exploration of space. Linear steel elements form the outline of a traditional painter’s easel propped against the gallery wall, while another steel line extends from the frame across the floor. Like the other Gallery Drawings, the work blurs distinctions between drawing, sculpture, and architecture, making the gallery itself part of the work.
The easel also introduces the idea of the frame as a device that defines—or sanctions—what we perceive as art. This same steel easel later moved outside to become the central element of my Easel Landscape Series (1978–80), where I photographed the landscape through it. Inspired in part by René Magritte’s The Human Condition, those works play with the relationship between frame, image, object, and reality, questioning where the artwork begins and ends—and how the simple act of framing something can alter the way we see it.
January 1978. Steel. Dimensions: 74 × 45 × 5 in (188 × 114 × 13 cm).
Gallery Easel is part of my Gallery Drawing Series, which marked a shift from the concentrated physical forces of my earlier tensegrity, or Brute Series, toward a more conceptual and linear exploration of space. Linear steel elements form the outline of a traditional painter’s easel propped against the gallery wall, while another steel line extends from the frame across the floor. Like the other Gallery Drawings, the work blurs distinctions between drawing, sculpture, and architecture, making the gallery itself part of the work.
The easel also introduces the idea of the frame as a device that defines—or sanctions—what we perceive as art. This same steel easel later moved outside to become the central element of my Easel Landscape Series (1978–80), where I photographed the landscape through it. Inspired in part by René Magritte’s The Human Condition, those works play with the relationship between frame, image, object, and reality, questioning where the artwork begins and ends—and how the simple act of framing something can alter the way we see it.
