1. David Rabinowitch, Plan for a Sculpture for Nicolas Copernicus, (1979)


  2. Vladimir Tatlin, Investigations on Standard Clothing, (1924)

    Collage, pencil, ink, and pasted material (a newspaper clipping “The New Everyday Life”, with a photo showing Tatlin with clothing designed by him, pictures from fashion magazines)

     From the archives of the Russian State Archive of Liturature and Art, Moskow


  3. Aaron Hegert, Transition/Template for Transition, (2012)

    -From the Artist Statement

    Transition/Template for Transition, an ongoing project, is an attempt to actively explore the flux and shift of particular spaces from their intended uses, to the secondary, more devious, forms of use that are hidden in their utilization. I want to access a certain mode of “making” that is more akin to consumption than it is to production. To begin, I took an explicit example of clandestine spatial consumption, a concrete ramp (transition) illegally built by local skateboarders in a derelict business park, and the wooden template for that transition, found on site, as subject matter for my photographs. These objects, and the perception that preceded their becoming, act as a blunt edged metaphor for a more general inquiry into the practice of catalyzing a space that is characteristically vulnerable: a space that is vulnerable to multiple associations; to manipulation by users who are not its maker; to a push from what it is, to what you want it to be.

    During the progression of the project, I have looked at these subjects both in and out of context, both as documents of, and models for, a critical spatial practice. And though I have integrated some environmental details and some experiments influenced by these observations, I have returned to the original transition and template repeatedly because of the simplicity of their formal and material qualities, and the complexity of the spatial and perceptual shifts they mobilize.


  4. Rudy Burkhardt, A Two Page Spread from “A Walk Through Astoria and Other Places in Queens, (1943)


  5. Denise Browne Hare, Étant donnés in the Corner of Marcel Duchamp’s 11th Street Studio, (1968)

    Hare documented the half assembled Étant donnés as it appeared in Duchamp’s cramped studio on East 11th Street in NYC in a series of photographs that were taken in the last week of December, 1969. The portfolio was commissioned by the artist’s close friend, Alexina “Teeny” Duchamp, who felt that it was important to capture for posterity the ambiance of the artist’s cramped and sparsely furnished studio.


  6. A Rudy/Godinez Curatorial Project, Five Found Graphs, (Date Unknown)


  7. Anselm Kiefer, Six Page Spreads from his Artist Book entitled, “Hoffmann von Fallersleben auf Helgoland” (Meant to Accompany the Exhibit of the Same Name at the Groninger Museum), (1980)

    ‘It is impossible tot write poetry after Auschwitz (Theodor Adorno) is reflected in Kiefer´s approach to visual arts: his work does not come across as a painful and thoughtful rendition of people´s suffering. Slashes , stabs, sorrow and solitude are key words of his art. Cremation and death, extermination and apocalypse also come to mind when examining, for instance, Hoffmann von Fallersleben auf Helgoland. Helgoland was the site of the greatest non/nuclear detonation in history, an event referred to as the ´British Bang´. A battered submarine, smoke and fire, wood barely hanging on and metal sticking out confirm the idea of annihilation.


  8. Giovanni Muzio, Ca’ Brutta, (1920-1922)

     Ca’ Brutta was described as a “grim, ornery, and unfriendly building”  by the writer Alberto Savinino. The building also came in for criticism from the architect Paolo Mezzanotte, who concluded that while lacking “the pompous vulgarity and banal stupidity of so much concrete architecture”, the classically inspired building displayed a “torment of lines and moldings  that seem to be lacking precisely that asset peculiar to classical architecture: serenity.”


  9. Cedric Price, Magnet: Tottenham Court Road, London, (1995)

    Pencil, blue pencil and stamped red ink over colored photocopy.

    Magnet was the title of Price’s series of designs made to heal broken pedestrian point, be they in urban of landscape settings, with portable structures adaptable to the situation at hand. Like magnets, the modules could be attached and detached from the site. In this scheme he tackles the busy and notorious intersection of Tottenham Court Road and Oxford Street. At the base of Center Point Tower, where pedestrians were barred from crossing. Over a photocopied image of the site, Price makes a simple sketch on opaque tracing paper of one of his Magnet Structures, composed of escalators stairs and passages.


  10. Constantin Brancusi, Construction Documentation of the Endless Column, Targu Jiu, Romania, (1937-1938)

     The Endless Column Ensemble, by famed Romanian sculptor Constantin Brancusi (1876-1957), has been hailed as one of the great works of twentieth-century public art. Commissioned by the National League of Gorj Women to honour the soldiers who had defended the town of Tfrgu Jiu against a German force in 1916, the tripartite ensemble, erected between 1937 and 1938, is composed of the Endless Column, a 30-metre-high column of zinc and brass-clad, cast-iron modules, and two stone monuments: the Gate of the Kiss and Table of Silence. Over the years the elements took their toll on the sculpture, and although the Column s modules had been replated several times since its construction, by the 1990s it was in dire need of conservation. (Which took place with the support of the World Monuments Fund (WMF).