Untitled

1960 - Drawing & Print (Drawing & Print)

Wallace Berman

location: California
year born: 1926
gender: male
nationality: American
home town: Staten Island, New York

Wallace Berman was one of San Francisco’s more important avant-garde artists and is considered by many to have been the father of the Californian assemblage movement (a title he could probably dispute with Edward Kienholz). Characteristically unruly, Berman was an active member of the San Francisco and Los Angeles Beat communities in the mid-1950s. In 1963 he settled in Topanga Canyon and started to develop the body of work for which he would become most famous. The verifax machine, a precursor of the photocopy machine, lent the name to the series of collages with which Berman experimented until his death in 1976. The structural compositional element that unifies the series is the image, appropriated from a magazine, of a hand holding a transistor radio. By photocopying and reproducing the image in sequential form on top of the canvas, Berman mimics the pattern produced by an old film reel. Inside the frame of each radio, the artist superimposed imagery—people, objects and symbols, often taken from pop culture—pertinent to that particular sequence of the work.


Colors:



Other related works, blended automatically

Untitled (Shuffle)
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Wallace Berman

1969

While Untitled (Shuffle) presents the same formal characteristics as the rest of Berman’s verifax collages, this constellation of specific images inside the radio’s frames—the Star of David, Hebrew characters, biblical animals—have Jewish symbolism and attest to the artist’s lasting obsession with the kabala...

27 Punk Photos: 11. Dim Wanker: F Word, May, 1978
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Bruce Conner

1978

In 1977, as an already-established artist best known for his films, Bruce Conner began to photograph punk rock shows at Mabuhay Gardens, a San Francisco club and music venue...

EASTER MORNING
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Bruce Conner

2008

Unlike many of his earlier films which often present poignant critiques of mass media and its deleterious effects on American culture, EASTER MORNING , Conner’s final video work before his death in 2008, constitutes a far more meditative filmic essay in which a limited amount of images turn into compelling, almost hypnotic visual experience...

Untitled (Schindler House, #01)
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Luisa Lambri

2007

Rudolph Schindler’s designs, part of a practice he called “Space Architecture,” marry interior with exterior and space with light...

Flower Tree
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Choi Jeong-Hwa

2008

The application of bright colors and kitsch materials in Flower Tree manifests a playful comment on the influence of popular culture and urban lifestyle...

Untitled (Governor of Ohio Judson Harmon), Damaged series
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Lisa Oppenheim

2003

The Damaged series by Lisa Oppenheim takes a series of selected photographs from the Chicago Daily News (1902 – 1933) as its source material...

New Town Ghost
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Minouk Lim

2005

New Town Ghost (2005) is one of Lim’s trio of large-scale video installations...

Sign series, #1, #2, #3
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Bjorn Copeland

2009

Sign #1 , Sign #2 , Sign #3 were included in “Found Object Assembly”, Copeland’s 2009 solo show at Jack Hanley Gallery, San Francisco...

Faltenwurf (Stairwell)
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Wolfgang Tillmans

2017

Wolfgang Tillmans initiated the ongoing series Faltenwurf in 1989, representing compositions of unused clothing, with special attention paid to the ways in which they drape and fold...

The Possibility of the Half
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Minouk Lim

2012

The Possibility of the Half by Minouk Lim is a two-channel video projection that begins with a mirror image of a weeping woman kneeling on the ground...

Untitled (Ruby Downing sitting between two Unidentified Men in a Room), Damaged series
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Lisa Oppenheim

2003

The Damaged series by Lisa Oppenheim takes a series of selected photographs from the Chicago Daily News (1902 – 1933) as its source material...

The Crime of Art
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Kota Ezawa

2017

The Crime of Art is an animation by Kota Ezawa that appropriates scenes from various popular Hollywood films featuring the theft of artworks: a Monet painting in The Thomas Crown Affair (1999), a Rembrandt in Entrapment (1999), a Cellini in How to Steal a Million (1966), and an emerald encrusted dagger in Topkapi (1964)...

Telescopic Pole (Tennis Balls Red) and (Tennis Balls)
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Chadwick Rantanen

2010

Telescopic Pole is an adjustable telescopic pole that extends vertically from floor to ceiling and is held up by its own internal pressure...

Same Old Crowd
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Li Ran

2016

The four-channel video installation Same Old Crowd departs from the documentation of an unknown city and takes place in an ambiguous temporal and spatial frame...

ONE MILLION (Japanese Yen)
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Kwan Sheung Chi

2012

Kwan Sheung Chi’s work One Million is a video work depicting the counting of bills...

Untitled Inkblot Drawing (CT-1491)
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Bruce Conner

1995

Bruce Conner is best known for his experimental films, but throughout his career he also worked with pen, ink, and paper to create drawings ranging from psychedelic patterns to repetitious inkblot compositions...

Subject, Silver, Prism
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Brian Jungen

2011

There are several elements to Subject, Silver, Prism ...

Sunday (Domingo)
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Rivane Neuenschwander

2010

In this video, a parrot chews on seeds printed with punctuation marks...

Office Work
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Walead Beshty

2018

Office Work by Walead Beshty consists of a partially deconstructed desktop monitor screen, cleanly speared through its center onto a metal pole...

Untitled (Miller House, #02)
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Luisa Lambri

2002

Lambri’s careful framing in Untitled (Miller House, #02) redefines our understanding of this iconic mid-century modernist building located in Palm Springs, California...