A large sheet with repeating pink semicircles and pixel-like squares arranged in a grid.

Joan Truckenbrod

Curvilinear Perspective

1979

Not on view

5 works in the collection
1 exhibition

View more by this artist https://whitney.org/collection/works/57434

Classification
Textiles

Medium
Heat-transfer print on fabric

Dimensions
Overall: 36 1/4 × 36 in. (92.1 × 91.4 cm)

Accession number
2018.48

Edition
Unique

Credit line
Purchase, with funds from the Digital Art Committee

API
artworks/57434

Exhibitions

Programmed: Rules, Codes, and Choreographies in Art, 1965–2018

Sept 28, 2018–Apr 14, 2019

Installation photography

Installation view of Programmed: Rules, Codes, and Choreographies in Art, 1965–2018 (Whitney Museum of American Art, New York, September 28, 2018–April 14, 2019). From left to right, top to bottom: Casey Reas, {Software} Structures #003 B, 2004 and 2016; Sol LeWitt, 4th wall: 24 lines from the center, 12 lines from the midpoint of each of the sides, 12 lines from each corner, 1976; Manfred Mohr, Band Structures P-021-U, 1970–83; Joan Truckenbrod, Curvilinear Perspective, 1979; Joan Truckenbrod, Coded Algorithmic Drawing (#9), 1975; Joan Truckenbrod, Coded Algorithmic Drawing (#45), 1975; In vitrine: Channa Horwitz, Suite 8, 1979. Photograph by Ron Amstutz

From the exhibition Programmed: Rules, Codes, and Choreographies in Art, 1965–2018
Installation view of Programmed: Rules, Codes, and Choreographies in Art, 1965–2018 (Whitney Museum of American Art, New York, September 28, 2018–April 14, 2019). From left to right, top to bottom: Manfred Mohr, Band Structures P-021-U, 1970–83; Joan Truckenbrod, Curvilinear Perspective, 1979; Joan Truckenbrod, Coded Algorithmic Drawing (#9), 1975; Joan Truckenbrod, Coded Algorithmic Drawing (#45), 1975. Photograph by Ron Amstutz

From the exhibition Programmed: Rules, Codes, and Choreographies in Art, 1965–2018
Installation view of Programmed: Rules, Codes, and Choreographies in Art, 1965–2018 (Whitney Museum of American Art, New York, September 28, 2018–April 14, 2019). From left to right, top to bottom: Manfred Mohr, Band Structures P-021-U, 1970–83; Joan Truckenbrod, Curvilinear Perspective, 1979; Joan Truckenbrod, Coded Algorithmic Drawing (#9), 1975; Joan Truckenbrod, Coded Algorithmic Drawing (#45), 1975; Tauba Auerbach, Binary Uppercase/Lowercase, 2005; Charles Gaines, Walnut Tree Orchard: M1, M2, M3, 1977; Agnes Denes, Pascal’s Triangle II, 1974; Lawrence Weiner, HERE THERE & EVERYWHERE, 1989; In vitrine: Channa Horwitz, Suite 8, 1979. Photograph by Ron Amstutz

From the exhibition Programmed: Rules, Codes, and Choreographies in Art, 1965–2018
Installation view of Programmed: Rules, Codes, and Choreographies in Art, 1965–2018 (Whitney Museum of American Art, New York, September 28, 2018–April 14, 2019). From left to right, top to bottom: Charles Csuri, Sine Curve Man, 1967; Joan Truckenbrod, Curvilinear Perspective, 1979; Joan Truckenbrod, Coded Algorithmic Drawing (#9), 1975; Joan Truckenbrod, Coded Algorithmic Drawing (#45), 1975; Tauba Auerbach, Binary Uppercase/Lowercase, 2005; Charles Gaines, Walnut Tree Orchard: M1, M2, M3, 1977; Agnes Denes, Dialectic Triangulation: A Visual Philosophy, series #3, 1970; Lawrence Weiner, HERE THERE & EVERYWHERE, 1989; Sol LeWitt and Lucinda Childs, Dance #4, 1979. Photograph by Ron Amstutz

From the exhibition Programmed: Rules, Codes, and Choreographies in Art, 1965–2018
Installation view of Programmed: Rules, Codes, and Choreographies in Art, 1965–2018 (Whitney Museum of American Art, New York, September 28, 2018–April 14, 2019). From left to right, top to bottom: Charles Csuri, Sine Curve Man, 1967; Joan Truckenbrod, Curvilinear Perspective, 1979; Joan Truckenbrod, Coded Algorithmic Drawing (#9), 1975; Joan Truckenbrod, Coded Algorithmic Drawing (#45), 1975. Photograph by Ron Amstutz

From the exhibition Programmed: Rules, Codes, and Choreographies in Art, 1965–2018