March, 1935, Josef Albers
On the front of this leaflet we present our new seal and on the back our library bookplate.
Since we are now in the middle of our second year, it is clear that we have not designed them in a hurry. Meanwhile we have tried to clarify differing opinions concerning this matter of a college emblem.
As will be at once obvious, we have no inclination to play at being Greeks, Troubadours, or Victorians; for we consciously belong to the second third of the Twentieth Century. We are not enamoured of astrological, zoological, heraldic or cabalistic fashions. We have hunted neither the phoenix nor the unicorn, we have dug up no helmet and plume, nor have we tacked on learned mottoes. And for "Sapienta" or "Virtus" we are still too young.
Instead, as a symbol of union, we have chosen simply a simple ring. It is an emphasized ring to emphasize coming together, standing together, working together. Or, it is one circle within another; color and white, light and shadow, in balance. And that no one may puzzle over cryptic monograms, we give our full address.
Judgment of the esthetic qualities we leave to the competent; for unsure critics we cite a rather distinguished authority:
"By beauty of shapes I do not mean, as most people would suppose, the beauty of living figures or of pictures, but, to make my point clear, I mean straight lines and circles, and shapes, plane or solid, made from them by lathe, ruler and square. These are not, like other things, beautiful relatively, but always, and absolutely." (Plato: Philebus 51C)
Since we are now in the middle of our second year, it is clear that we have not designed them in a hurry. Meanwhile we have tried to clarify differing opinions concerning this matter of a college emblem.
As will be at once obvious, we have no inclination to play at being Greeks, Troubadours, or Victorians; for we consciously belong to the second third of the Twentieth Century. We are not enamoured of astrological, zoological, heraldic or cabalistic fashions. We have hunted neither the phoenix nor the unicorn, we have dug up no helmet and plume, nor have we tacked on learned mottoes. And for "Sapienta" or "Virtus" we are still too young.
Instead, as a symbol of union, we have chosen simply a simple ring. It is an emphasized ring to emphasize coming together, standing together, working together. Or, it is one circle within another; color and white, light and shadow, in balance. And that no one may puzzle over cryptic monograms, we give our full address.
Judgment of the esthetic qualities we leave to the competent; for unsure critics we cite a rather distinguished authority:
"By beauty of shapes I do not mean, as most people would suppose, the beauty of living figures or of pictures, but, to make my point clear, I mean straight lines and circles, and shapes, plane or solid, made from them by lathe, ruler and square. These are not, like other things, beautiful relatively, but always, and absolutely." (Plato: Philebus 51C)
Robert Rauschenberg, Retroactive, 1964
Richard Hamilton, Just what is it that makes today's homes so different, so appealing?, 1956
Robert Rauschenberg, Bed, 1955
Jasper Johns, Flag, 1954-55
Jasper Johns, Tree flags, 1958
Andy Warhol, Dr. Scholl, 1960
Vitrine du Bonxit Teller, New York, avril 1961.
Andy Warhol, Handle with Care-Glass-Thank You (Attention-verre-fragile), 1962
Andy Warhol, Grande boîte de soupe Campbell’s déchirée (bœuf aux légumes), 1962
Andy Warhol, Deux cents boîtes de soupe Campbell’s, 1962
Andy Warhol, Sans titre (Caisse de soupes Campbell’s unique), 1964
Exposition « Warhol », Stable Gallery, New York, 1964.
Andy Warhol, Elvis rouge, 1962
Andy Warhol, Marilyn Monroe dorée, 1962
Andy Warhol, Seize Jackie, 1964
Andy Warhol, Catastrophe du samedi, 1964
Andy Warhol, Kiss, 16 mm, 58min 1963
Andy Warhol, Blow Job, 16 mm, 30 minutes, 1963
Andy Warhol, Empire. 16 mm, 8 heures, 1964
Robert Morris, Installation, Green Gallery, New York, 1964
Donald Judd, Sans titre (stack), 1969-82
Robert Smithson, Leaning Strata, 1968
Robert Smithson, A Nonsite, 1968
Robert Smithson, Asphalt Rundown, Rome, 1969
Robert Smithson, Spiral Jetty, The Great Salt Lake (Utah), 1970
Robert Smithson, Broken Circle, Emmen (Hollande), 1971
Robert Smithson, Amarillo Ramp, Amarillo (Texas) 1973
Chuck Close, Big Self Portrait, 1967-68
Chuck Close, Leslie, 184,2 x 144,8 cm, 1973
Chuck Close, Alex (Katx), 1993
Chuck Close, Phil Spitbite, 1995
Chuck Close, Self-Portrait, 259 x 213,4 cm, 1997
Chuck Close au travail
Richard Estes, Urban Landscape 1, 1972
Richard Estes, Clothing store, 1976
Richard Estes, urban Landscape 3, 1981
Richard Estes, Parking Lot, 1984
