Victor Vasarely
Analog
Victor Vasarely Analog
8 September – 29 October 2016
521 W 26th St., New York, NY 10001 T (212) 759 7555 | F (212) 759 5824 www.davidsongallery.com info@davidsongallery.com
The question that people have often posed regarding my work is ‘but what does your work really mean to say?’. At first, perplexed and surprised by this question, over the years I have not found one single response to this question, but rather I have found responses to it. Objectively, I work on bi-dimensional compositions from the perspective of forms and/ or colors; or on multi-dimensional shapes derived from my intuition, from science and from techniques comprising visual stimuli and directed towards one of the many plastic functions of the contemporary city. Subjectively, my work is a question of poetical creations with practical qualities, capable of releasing in other people an imaginative and emotional response. Of course, at this level of response, all kinds of interpretations or comparisons are possible. Thus, there evolves around my artistic work – which is meant to be rigorously dialectic in approach – a kind of transformative, imagined and desired ‘blurring’ sought after by those who seriously contemplate my work. From my own personal point of view, I have the feeling that I create ‘beings’ (in the sense of artistic composition) from another world, the world of pure plasticity: from conception to birth to development to intricate complexity and to the total completion and functional activity of plastic shapes. From my early youth, I have sought to align systems with characteristics that are sometimes horizontally or vertically depicted, and sometimes crossed; sometimes these networks are figurative in appearance at first and subsequently become abstract. Regarding these alignments, I have never questioned myself or wondered about their origins or about their meaning. My artistic attraction to such effects caused by the creation of these linear systems has become more and more strong: the strange appearance of moiré fabrics, the transformations which come into play behind twisted lattice-wire netting, the vibrating chords of the cymbalum, the complex clusters of threads on a weaving machine or in a spinning shop, the scale of a printing machine when viewed under a magnifying glass, the fleeting furrows of tilled earth, the undulation of telegraph cables when observed from a moving train, the
railway tracks gleaming as far as the eye can see from a railway station, power lines… What more to say here, surely, I’m forgetting some, but these elements have always fascinated me. In 1929, at the Academy of Bortnyik in Budapest, I studied both linear and crossed systems, and for the next ten years both applied and experimental graphism would be my main focus. Upon arriving in France, I had the opportunity to be able to admire works of art from the beginning of the twentieth century to our current time. In certain modern works, and in the pen and ink works of Paul Klee, I discovered similarities to my systems, just as I found similarities later on in the work of Pevsner and in certain compositions of Albers. Is this pure coincidence? Beginning in 1948, the year I discovered ‘L’unite Plastique’, I found a basic polarization and another wave of plastic elements. My subsequent research has been divided between these two preoccupations, which have become major ones for me. During that critical period, I devoured a number of works on relativity, on wave theory, cybernetics, and astrophysics. As a result of these readings, one particular sentence kept gnawing at me: ‘one could consider matter-energy as a distortion of space’. Pure physics suddenly revealed itself before my dazzled eyes as a new, poetic resource. The usual, ordinary landscapes
La question que l’on m’a souvent posée en regardant mes oeuvres est: ‘mais qu’est-ce que cela veut bien dire…?’ perplexe d’abord, au fil des années j’ai trouvé non pas la réponse, mais les réponses. Objectivement, je travaille sur des compositions bidimensionnelles de formes-couleurs ou des structures multidimensionnelles faites d’intuition, de science et de technique, comportant des stimuli visuels et destinées à l’une des multiples fonctions plastiques de la cité moderne. Subjectivement, il s’agit de créations poétiques aux qualités sensibles, susceptibles de déclencher en autrui un processus imaginatif et émotionnel. Sur ce terrain-là bien entendu – toutes le interprétations ou équivalences deciennent possibles… Ainsi il se constitue autour de mon oeuvre – qui se voulait rigoreusement dialectique – un halo métaphysique, imaginé, desiré, voulu, par les contemplateurs. Personnellement j’ai le sentiment de créér des êtres d’un monde à part, celui de la plastique pure: génèse, naissance, foisonnement, complexification, perfectionnement et fonctionnalisation des structures platiques. Depuis ma prime jeunesse j’aligne des réseaux de traits tantôt horizontaux ou verticaux, tantôt croisés, figuratifs au départ, abstraits par la suite, sans m’être interrogé sur leur origine ou leur signification.
disappeared, and the concepts of certainty and uncertainty alternated within me. Carried on these waves, I fled forward sometimes towards the atom; sometimes towards galaxies, while passing over fields both attractive and repulsive. Was it possible that the universe is merely a grandiose equation? And that anti-matter is the mirror-image of new realities or hypotheses? Exact science or philosophies? Shuddering, I think about the pre-existing ideas of Plato or of the nomads of Leibniz and I continue to draw my systems.
L’attraction des effets causés par la création de réseaux linéaires est devenue de plus en plus forte: les jeux bizarres du moirage, les métamorphoses qui s’opèrent derrière des grillages à torsion, les cordes vibrantes du cymbalum, les faisceaux complexes des fils sur métier à tisser ou des machines peigneuses dans les filatures, la gamme des trames d’imprimerie sous la loupe, les sillons fuyants des terres labourées, l’ondulation des câbles du télégraphe observée d’un train en marche, les rails luisant à perte de vue d’une gare de triage, les lignes de force… que sais-je encore, j-en oublie sûrement, m’ont toujours fascinés. En 1929 à l’Académie de Bortnyik à Budapest, j’ai étudié les réseaux linéaires et croisés, et durant dix ans le graphisme appliqué et experimental sera ma préoccupation
Victor Vasarely October 1963
principale. A mon arrivée en France, j’ai eu la chance de pouvoir admirer l’art du début du siècle à nos jours. Dans certaines toiles modernes, dans des encres de Paul Klee, j’ai découvert des analogies avec mes réseaux, de même que plus tard dans l’oeuvre de Pevsner et dans certaines compositions d’Albers. Est-ce là pure coïncidence? Dès 1948, l’année où j’ai découvert ‘L’unite Plastique’, j’ai constaté une polarisation corpusculaire et une autre ondulatoire des éléments plastiques et ma recherche s’est partagée entre ces deux préoccupations devenues majeures pour moi. Durant cette période cruciale j’ai dévoré de nombreux ouvrages sur la relativité, sur la mécanique ondulatoire, la cybernétique et l’astrophysique. De ces lectures une phrase m’a spécialement interpellé ‘on pourrait considerer la matière-énergie comme une déformation de l’espace’. La physique pure se révélait soudain devant mes yeux éblouis comme nouvelle source poétique. Les paysages habituels disparaissaient, certitude-incertitude s’alternaient. Porté par les ondes, je fuis en avant tantôt vers l’atome, tantôt vers les galaxies, en franchissant les champs attractifs ou repoussants. L’univers ne serait-elle qu’une grandiose équation ? Et l’antimatière, l’image-miroir, de nouvelles réalités ou des hypothèses? Science exacte ou philosophie? Je pense en frémissant aux idées préexistantes de Platon ou aux nomads de Leibniz et je continue à tracer mes réseaux. Victor Vasarely Octobre 1963
Note The first contact I had with the work of Vasarely was in 1954 with his extraordinary works installed at the University City of Caracas. A year later, when I traveled to Paris, I saw his work again at the exhibition ‘Le Mouvement’ at Galerie Denise René. In 1960, I joined the roster of the Gallery Denise René and I (as well as my peers) had the opportunity to see him often, to talk with him, and hear his opinions. While my work was not particularly similar to his, Vasarely had a great deal of positive influence on many Latin American artists, as well as a group called ‘Groupe de Recherche d’Art Visuel’. Indeed, Vasarely is one of the artists that marked the twentieth century. I consider his abstract works and all the black and white work that preceded the virtual chromatic and voluminous work of the following years to be of extreme importance. Vasarely has been a pivotal and fundamental artist of the Op, and Kinetic Art. His work has exerted a worldwide influence. Carlos Cruz-Diez, 2016
Amu-Daria 1948 Mixed media 7¾ × 8½” (20 × 22cm)
Meandres Belle-Isles 1951 Oil on canvas 59 × 40” (150 × 102cm)
Jerusa 1956 Acrylic on board 18 × 18” (46 × 46cm)
MC-BC 1968 Acrylic on canvas 39½ × 39½” (100 × 100cm)
Vega Argent 1969 Acrylic on canvas 19¼ × 19¼”(49 × 49cm)
Otal 1970 Collage 15½ × 15½” (39 × 39cm)
Quasar-Kek 1971 Acrylic on canvas 63 × 63” (160 × 160cm)
Vonal-Prim 1975 Oil on canvas 78¾ × 78¾” (200 × 200cm)
Kolosi 1978 Acrylic on canvas 33 × 33” (84 × 84cm)
Phobos 1979 Acrylic on canvas 63 × 63” (160 × 160cm)
Micron 1984 Acrylic on canvas 70¾ × 70¾” (180 × 180cm)
Infin 1979-88 Acrylic on canvas 78 × 78” (198 × 198cm)
Graphisme 4 1958 Oil on canvas 35¾ × 31½” (90 × 80cm)
Programes-Xelles 1967 Ink and graphite on board 13 × 15½” (32·5 × 39·5cm)
Programes-Metagalaxie 1959–61 Ink and graphite on board 20 × 21¾” (51 × 55·5cm)
Programes-CTA-Szurke 1965 Ink and graphite on board 13¾ × 13¾“ (34∙5 × 34∙5 cm)
Expositions personnelles (sélection)
Expositions collectives (sélection)
2014 – Optical Paintings, EMMA, Espoo Museum of Modern Art, Espoo – Early Drawings and Graphic Designs in the Collection, Museum of Fine Arts Budapest, Budapest 2013 – Vasarely, Galerie Denise René, Rive Gauche, Paris 2012 – Optical Spaces, Museum of Geometric and MADI Art, Dallas, TX 2011 – Victor Vasarely, une rétrospective 1948–1975, Galerie Lahumière, Paris – Victor Vasarely: Optical Perspectives, Cafesjian Center for the Arts, Yerevan 2008 – Victor Vasarely “GRÁFICA”/Sala Gráfica, Galería Patricia Ready, Santiago 2007 – Victor Vasarely retrospectiv, Milano triennale, Italy 2006 – Victor Vasarely, Galerie Renée Ziegler, Zurich 2005 – Victor Vasarely, Krems Kunsthalle Krems, Germany – Victor Vasarely retrospectiv, Naples Museum, USA 2003 – Milan Dobès Museum, Bratislava 2001 – Aboa Vetus and Art Nova Museum, Turku 1998 – Victor Vasarely, Ulmer Museum, Ulm – Vasarely, Erfinder des Op-Art, Wilhenhack Museum, Ludwigshafen – Josef Albers Museum, Bottrop 1995 – Hommage à Vasarely, Galerie Lahumière, Paris – Musée Olympique, Lausanne 1993 – Victor Vasarely retrospectiv, Mitsukoshi Museum, Tokyo – Iwaki Municipal Museum – Museum of Modern Art, Hokkaido – Hokkaido Museum, Obihiro – Itami Museum, Hyogo – Kure City Museum, Hiroshima 1992 – Victor Vasarely retrospectiv, Kunstforum Autriche, Vienne, Autriche 1990 – Galerie im Stadttheater, Ingolstadt 1988 – Les Années 50, Galerie Lahumière, Paris 1987 – Innsbruck Gallery, Innsbruck – Romanischer Keller, Salzburg – Okresne Museum, Prague – Château Esterhazy, Austria – Savjet Muzejsko, Yougoslavie 1986 – Galerie Lahumière, Paris – Musee des Beaux Arts d Alger 1982 – Freitas Gallery, Caracas 1979 – La Couleur Eternelle dans l’Architecture Traditionnelle, Fondation Vasarely – Phoenix Art Museum, USA 1977 – Galerie Mathilde, Amsterdam – Contemporary Art Museum, Caracas 1976 – Galerie Denise René, Paris – Musee de Tel Aviv, Israel 1975 – Bel’Art Gallery, Stockholm – Théo Gallery, Madrid – Teheran Gallery, Iran 1974 – Annunziata Gallery, Milan – Heller Gallery, London – Annunziata Gallery - Milan 1973 – Moos Gallery, Toronto – Museum of Modern Art, Mexico – Goodman Gallery, Johannesburg – Oeuvre de 1948 à 1973, Galerie Denise René, Paris 1972 – Alberta Art Gallery, Calgary – Il Castello Gallery, Milan – Sidney Janis Gallery, New York – Vasarely 1948-1958, Galerie Charles Kriwin, Brussels – Ludwigshafen Museum, Germany – Semiha Huber Gammery, Zurich 1971 – Collage, Galerie Denise René, Paris – Cologne Kunsthalle, Germany – Minami Gallery, Tokyo 1970 – Polychromie Multidimensionnelles, Galerie Denise René, Paris – Opening of Vasarely Museum in Château de Gordes, Gordes 1969 – Centre de la Culture, Neuchâtel – Gimpel and Hanover Gallery, Zurich
– Folklore Planétaire, Galerie Denise René, Paris – Sidney Janis Gallery, New York – Gallery des Beaux Arts de Budapest 1968 – Sidney Janis Gallery, New York – Pryzmat Gallery, Krakow 1967 – Tapisserie, Musée de Arts Décoratifs, Paris – Multiples, Galerie Denise René, Paris – Stedeljik Museum, Amsterdam – Speed Art Museum, Louisville, Kentucky – Carrol Reece Museum, Johnson City, Tenessee – Gallery Hans Meyer, Esslingen 1966 – Gallery Sidney Janis, New York – Gallery Hayden, Massachusetts Institute of Technologie, – Cambridge, Massachusetts – Galerie Denise René, Paris 1965 – Hanover Gallery, Zurich – Deposito Gallery, Genova – Handschin Gallery, Basel – Muller Gallery, Stuttgart – Pace Gallery, New York 1964 – Vasarely et l’Art Social, Académie des Beaux Arts, Paris – Kunsthalle of Dusseldorf – The Pace Gallery, New York – Kunsthalle of Bern – Brook Street Gallery, Londres – Gemeente Museum, La Haye 1963 – Taft Museum, Cincinnati – L’Unité Plastique, Musée des Arts Décoratifs, Pavillion de Marsan, Paris 1962 – Gallery Kaare Bernsten, Oslo – Galerie Le point Cardinal, Paris – Pace Gallery 1961 – Der Spiegel Gallery , Köln – Lorenzelli Gallery, Milan – Galerie Le Point Cardianal, Paris – Artek Gallery, Helsinki – Hanover Gallery, London 1960 – Palais des Beaux Arts, Brussels 1959 – Galerie Denise René, Paris – Museum of Fine Arts, Caracas 1958 – Rose Fried Gallery, New York – National Museum of Fine Arts, Buenos Aires 1956 – Galerie Der Spiegel, Köln 1955 – Galerie Denise René, Paris 1954 – Palais des Beaux-Arts, Brussels 1952 – Galerie Denise René 1950 – Arne Bruun Rasmussen Gallery, Copenhagen 1946 – Galerie Denise René, Paris 1944 – Galerie Denise René, Paris 1933 – Ernst Museum, Budapest 1930 – Galerie Kovàcs, Akos, Budapest
2015 – Eye Attack: Op Art & Kinetic Art, 1950–1970, Louisiana Museum Of Modern Art – The Illusive Eye, El Museo Del Barrio, New York – New Realities in the 20th and 21st Century, Opera Gallery, Hong Kong – Global Exchange: Geometric Abstraction Since 1950, Museo de Arte Contemporaneo de Buenos Aires 2014 – 50 Years Living With Art: Anniversary Exhibition, Galerie Thomas, Munich – Auflösung einer Grafiksammlung, galerie GALERIE, Vienna – A Global Exchange: Geometric Abstraction since 1950, MACBA, Museo de Arte Contemporáneo de Buenos Aires, Buenos Aires 2013 – Homage to Denise René: Past, Present and Future of a Vision, Espace Expression, Miami – Decorum, Musée d´Art Moderne de la Ville de Paris, MAM/ARC, Paris 2012 – Accrochage, Arbeiten auf Papier, Galerie am Lindenplatz AG, Vaduz – La Peinture Française Contemporaine, Combinaisons de L’histoire, Perm Museum of Contemporary Art, Perm – L’Art en Guerre: France 1938-1947 - De Picasso a Dubuffet , Musée d´Art Moderne de la Ville de Paris, MAM/ARC, Paris 2011 – De Léger a Dubuffet. Signos y gestos del siglo XX , Oriol Galeria d’Art, Barcelona – The George and Ann Dannatt Collection, Pallant House Gallery, Chichester, West Sussex – Rotes Quadrat und schwarze Rakete: Druckgraphik aus einer Privatsammlung, Museum Kurhaus Kleve, Kleve – Im Fokus: Die 1950er bis 1970er Jahre, Museum Ritter, Waldenbuch – The Erling Neby Collection, Henie Onstad Art Centre, Høvikodden 2010 – Victor Vasarely, Ludwig Gebhard, anders galerie im stilwerk, Dusseldorf – Memorial Art Gallery of the University of Rochester, Rochester, NY 2009 – Just what is it... , ZKM | Zentrum für Kunst und Medientechnologie Karlsruhe, Karlsruhe – Victor Vasarely und 50 Jahre Konstruktive Kunst in Paris, Kunsthalle Messmer, Riegel – Pas nécessaire et pourtant indispensable. 1979-2009 : 30 ans d’art contemporain à Meymac Abbaye St André, Centre d’art contemporain Meymac, Meymac – Un Été Pluriel, Galerie Gimpel & Müller, Paris 2008 – Modern Prints, Klassische Moderne bis Pop Art, Galerie Proarta, Zurich – Estampes, Modernes Et Contemporaines - Galerie Pierre-Alain Challier, Paris – Galleria Grafica Collection No.16, Galleria Grafica Tokyo, Tokyo – 16th Biennale of Sydney, Biennale of Sydney, Sydney, NSW – L’image Imprimée À La Louvière, Maison de la Culture Namur, Namur 2007 – Un Parcours II, Galerie Lahumière, Paris – KUNSTEN, Museum of Modern Art Aalborg (former Nordjyllands Kunstmuseum), Aalborg – White-Black, Vasarely Museum, Budapest – Shining Spirit: Westheimer Family Collection, Oklahoma City Museum of Art, Oklahoma City, OK – Doppio sogno: 2RC tra artista e artefice, Fondazione Arnaldo Pomodoro, Milan – Op Art, Schirn Kunsthalle, Frankfurt/Main 2006 – Autour du Blanc. Exposition de goupe, Galerie Lahumière, Paris – Géométrie en liberté, Galerie Lélia Mordoch, Paris – Tapestries, Bass Museum of Art, Miami, FL – The Expanded Eye. Sehen, entgrenzt und verflüssigt, Kunsthaus Zürich, Zurich 2005 – Arte Moderna e Contemporanea, N. Saint Phalle, F. Sanna , V. Vasarely, E. Vedova, Galleria La Fenice, Sassari – Prague Biennale 2, Karlin Hall, Prague 2004 – Human Presence: Works from the Museum´s Collection, San Diego Museum of Art, San Diego – Geometrical Abstraction and Op Art, Museum of Contemporary Art Skopje, Skopje – Africa: Beauty and Disaster, Galerie Beyeler, Basel 2003 – Paris 1945 bis 1965, Lentos Kunstmuseum Linz, Linz – Renault Collection, Contemporary French Art, Sompo Japan Museum of Art, Tokyo – Zero, Die Europäische Vision, Sammlung Lenz Schönberg, RLB Kunstbrücke, Innsbruck – Photo - Kunst - 1852–2002, Staatsgalerie Stuttgart, Stuttgart 2002 – Good vibrations: The Legacy of Op Art in Australia, Heide Museum of Modern Art, Melbourne
– Moderna Museet C/O Magasin 3, Magasin 3 Stockholm Konsthall, Stockholm 2001 – Oeuvres sur papier, Galerie Denise René, Espace Marais, Paris – The First 10 Years: Selected Works from the Collection, Irish Museum of Modern Art, IMMA, Dublin 2000 – Art in Central Europe: 1949–1999, Fundación Joan Miró, Barcelona – From Cubism to Minimalism, A selection of Works by World Leading Artists, Tehran Museum of Contemporary Art, Tehran 1999 – Correnti Internazionali, Hans Hartung, Niki de Saint Phalle, Franco Sanna, Victor Vasarely, Galleria La Fenice, Sassari 1998 – Weather Everything, Galerie für Zeitgenössische Kunst, GfZK, Leipzig – Accrochage, Galerie Uwe Sacksofsky, Heidelberg 1997 – ARTE MODERNA CONTEMPORANEA, Galleria La Fenice, Sassari 1996 – 10 ans de peinture 1945-1955, Galerie Natalie Seroussi, Paris 1995 – Bestandsaufnahme XII, Galerie m Bochum, Bochum 1994 – Europa, Europa, Das Jahrhundert der Avantgarde in Mittel, und Osteuropa, Kunst, und Ausstellungshalle der Bundesrepublik Deutschland, Bonn 1993 – Dipinto di Blu, Galleria Melesi, Lecco 1992 – Lyon, ?ódz? : Muzeum Sztuki w ?odzi, 1931-1992, Musée d’Art Contemporain Lyon, Lyon 1991 – La Vitesse, Fondation Cartier pour l’art contemporain, Paris 1990 – ARTE INTERNAZIONALE, ARMAN, CESAR, HARTUNG, SANNA, VASARELY, VEDOVA, Galleria La Fenice, Sassari 1983 – The Principle of Hope. Aspects of Utopia in the Art & Culture of 20th Century Art, Riga, Kunstmuseum Bochum 1981 – Constructivism and the Geometric Tradition: Selections from the McCrory Corporation Collection, The Detroit Institute of Arts, Detroit, MI 1980 – Constructivism and the Geometric Tradition: Selections from the McCrory Corporation Collection, San Francisco Museum of Modern Art – SFMOMA, San Francisco, CA – Colección Leopoldo Rodríguez Alcalde, Grabado Contemporáneo, Museo de Bellas Artes de Santander 1974 – Eastern European Art from the Collection of the Museum Bochum, Kunstmuseum Bochum 1970 – Popular Mechanics in Printmaking, MoMA, Museum of Modern Art, New York City 1969 – ars porcellana, Galerie nächst St. Stephan - Rosemarie Schwarzwälder, Vienna 1968 – documenta 4, Documenta, Kassel – Word & Image: Posters and Typography from the Graphic Design Collection of the Museum of Modern Art 1879–1967, MoMA, Museum of Modern Art, New York City, NY 1965 – French Abstract Tapestry, Contemporary Arts Museum Houston, Houston, TX 1964 – Mouvement 2, Galerie Denise René, Rive Gauche, Paris – documenta 3, Documenta, Kassel 1955 – documenta 1, Documenta, Kassel – Art 1955, Musée des Beaux-Arts de Rouen, Rouen 1947 – Peintures abstraites, Galerie Denise René, Rive Gauche, Paris
Expositions publiques (sélection) Argentine Australie Austria Belgique Brasil Canada Chili Cuba Denmark Deutschland Finland France Great Britain Hungary Indonesia Iran Island Israel Japan Macedonia Nederland Poland Portugal
Museum of Modern Art, Buenos Aires Power Gallery Of Contemporary Art, University of Sydney, Sydney Museum des XX. Jahrhundeerts, Wien Musées Royaux des Beaux-Arts de Belgique, Brussels Musée d’Art Moderne et d’Art Contemporain, Lüttich Museum of Modern Art of Sao Paulo Edmonton Art Gallery, Edmonton Musée des Beaux Arts, Montréal Musée d’Art Contemporain, Montréal National Gallery of Canada, Ottawa Owens Museum of Art, Mount Allison University, Sachville Museo Nacional de Bellas Artes, Santiago Casa de las Americas, Havanna Herning Kunstmuseum, Herning Louisiana Museum, Humlebaek Statens Museum for Kunst, Kopenhagen Museum Lyngby Neue Nationalgalerie, Staatliche Museen Berlin Hessiches Landes, Darmstadt Staatliche Kunsthalle, Karlsruhe Museum Ludwig, Koln Kaiser Wilhem Museum, Krefeld Staatsgalerie Stuttgart Albers Museum WurzBerg Museum Stiftung Sara Hilden Ateneum, Helsinki Porin Taidemuseo, Pori Musée Calvet, Avignon Musée des Beaux-Arts, Caen Musée des Arts, Cholet Musée d’Unterlinden, Colmar Musée d’Art Contemporain, Dunkerque Musée de Grenoble Musée Cantini, Marseille Musée des Beaux-Arts de Nantes Musée d’Art Moderne de la Ville de Paris Musée National d’Art Moderne, Saint-Etienne Musée des Beaux-Arts, Tourcouing Centre Georges Pompidou Ulster Museum, Belfast Tate Gallery, London Whitworth Art Gallery, University of Manchester Magyar Nemzeti Galerie, Budapest Szepmuveszeti Museum, Budapest Vasarely Mueum, Budapest Janus Pannonius Museum, Pecs Vasarely Museum, Pecs Museum Djakarta Contemporary Art Museum, Teheran Nationalmuseum, Reykjavik Israel Museum, Jerusalem Tel Aviv Museum of Art, tel Aviv Museum of Modern Art, Sapporo Fukuoka-Museum, Tokyo Seibu Museum of Art, Tokyo Mitsukoshi-Museum, Tokyo Muzej na sovremenata umetnost, Skopje Peter Stuyvesant Stichting, Amsterdam Stedelijk Museum, Amsterdam Haags Gemeentemuseum, Den Haag Dordrchts Museum, Dordrecht N.V. Philips Bloaeilapenfabrieken, Eindhoven Museum Boijmans Van Beuningen, Rotterdam Muzeum Sztuki, Lodz Museu Calouste Gulbenkian, Lissbon
South Africa Sweden USA Uruguay Venezuela
Rembrandt Art Foundation, Stellenbosch Archives for Decorativ Konst, Lund Indian University Art Museum, Bloomington Albright-Knox Art Gallery, New York Fogg Art Museum, Harvard University, Cambridge Dallas Museum Of Fine Arts, Dallas Art Institute, Detroit Flint College Museum, Michigan Museum Of Modern Art, New York Solomon R. Guggenheim Museum, New York Rockfeller Fondation, New York Jewish Museum, New York Philadelphia Museum of Art, Philadelphia Museum Of Art, Carneige Institute, Pittsburgh Museo Nacional de Artes Plasticas, Montevideo Museuo de Bellas Artes, Caracas Museo de Arte Conteporaneo, Caracas
This catalogue was produced in conjunction with the exhibition Analog at Maxwell Davidson Gallery, New York City, 8 September – 29 October 2016 Catalogue design by Thomas Messenger Printed by LOG-ON, Inc. New York NY