comparative imagery: corners.
In chronological order.
Richard Serra, Corner Prop, 1969 (source)
Lynda Benglis, Untitled (VW), 1970 (source)
Fred Sandback, Gray Corner Piece, 1970 (source)
Dan Flavin, untitled (in honor of Harold Joachim) 3, 1977 (source)
Maren Hassinger, Excerpt from a Quiet Place, 1985 (source)
Juan Muñoz, The Wasteland, 1987 (source)
Felix González-Torres, Untitled (Portrait of Ross in L.A.), 1991 (source)
Kara Walker, Darkytown Rebellion, 2001 (source)
littlewhitehead, It Happened in the Corner…, 2007 (source)
Anish Kapoor, Shooting into the Corner, 2008-2009 (source)
maira kalman, fred sandback, strunk & white, and my boundless love.
Illustrator Maira Kalman first published this image in her picture essay on Abe Lincoln. The original gouache and ink on paper drawing is on view at the Jewish Museum until July 31 in her wonderful little retrospective, Maira Kalman: Various Illuminations (Of a Crazy World). I love that she describes contemporary sculptor Fred Sandback* as a “philosopher of string and space.” Rather than using hefty materials to build a monolithic object, Fredback delineates space using one of geometry’s most basic forms: the line. Fragile one dimensional structures of yarn stretch strategically between walls and floor to yield inhabitable, three dimensional spaces.
This same image appears in Kalman’s illustrated edition of Strunk and White’s cult writing guide Elements of Style. Below the drawing, a caption—extracted straight from the original text—reads: “A basic structural design underlies every kind of writing.”
I love this comparison of Fredback and the process of writing even more than I love that he is a philosopher of string and space. I like to think that I could map my blog posts with strings of yarn; the words and images are just like human beings occupying the space between Fredback’s structures.
Humans in a Fredback installation (source)
Even more love: that Kalman can use one illustration for two very different but equally poignant contexts. She used her existing repertoire of drawings and made very astute connections to words scrawled in Elements of Style.
My love for Maira and Fredback is a boundless love. (My love for Strunk and White is, however, bounded. More on that later.)
*At first I typed his name as “Fredback,” and I rather like this nickname. Henceforth he is Fredback.