Not on view
Date
1964
Classification
Drawings
Medium
Pen and ink on paper
Dimensions
Sheet: 11 1/8 × 17in. (28.3 × 43.2 cm)
Accession number
2014.295
Credit line
Whitney Museum of American Art, New York; gift of the Lenore G. Tawney Foundation
Rights and reproductions
© Lenore G. Tawney Foundation
Exhibitions
Installation photography
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Installation view of Making Knowing: Craft in Art, 1950–2019 (Whitney Museum of American Art, New York, November 22, 2019–January 2021). From left to right: Agnes Martin, Untitled, c. 1960; Agnes Martin, Untitled, c. 1960; Lenore G. Tawney, The Great Breath, 1964; Chryssa, Untitled (March 26, 1962) from Newspaper Book, 1962. Photograph by Ron Amstutz
From the exhibition Making Knowing: Craft in Art, 1950–2019
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Installation view of Making Knowing: Craft in Art, 1950–2019 (Whitney Museum of American Art, New York, November 22, 2019–January 2021). From left to right: Robyn Brentano and Andrew Horn, Cloud Dance, 1979; Lenore G. Tawney, Four Petaled Flower II, 1974; Lenore G. Tawney, Spirit River, 1966; Agnes Martin, Untitled, c. 1960; Agnes Martin, Untitled, c. 1960; Lenore G. Tawney, The Great Breath, 1964; Chryssa, Untitled (March 26, 1962) from Newspaper Book, 1962; Peter Voulkos, Red River, c. 1960; Robert Rauschenberg, Yoicks, 1954; Ruth Asawa, Untitled (S.270, Hanging Six-Lobed, Complex Interlocking Continuous Form within a Form with Two Interior Spheres), 1955, refabricated 1957-58. Photograph by Ron Amstutz
From the exhibition Making Knowing: Craft in Art, 1950–2019
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Installation view of Making Knowing: Craft in Art, 1950–2019 (Whitney Museum of American Art, New York, November 22, 2019–January 2021). From left to right: Anni Albers, Line Involvements II, 1964; Anni Albers, Line Involvements VI, 1964; Ann Wilson, Moby Dick, 1955; Robyn Brentano and Andrew Horn, Cloud Dance, 1979; Lenore G. Tawney, Four Petaled Flower II, 1974; Lenore G. Tawney, Spirit River, 1966; Agnes Martin, Untitled, c. 1960; Agnes Martin, Untitled, c. 1960; Lenore G. Tawney, The Great Breath, 1964. Photograph by Ron Amstutz
From the exhibition Making Knowing: Craft in Art, 1950–2019