Classification
Sculpture
Medium
Silicone, walnut, faux serpent skin, synthetic hair, faux quetzal feather
Dimensions
Dimensions variable
See individual components
Accession number
2019.36a-d
Credit line
Purchase, with funds from the Painting and Sculpture Committee and Sonia and Gaurav Kapadia
Rights and reproductions
© Clarissa Tossin
Exhibitions
Installation photography
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Installation view of Pacha, Llaqta, Wasichay: Indigenous Space, Modern Architecture, New Art (Whitney Museum of American Art, New York, July 13–September 30, 2018). Clockwise, from top left: Ronny Quevedo, Cabeza Magica, 2012; Ronny Quevedo, quipu, 2017; Ronny Quevedo, every measure of zero (wari textile), 2017; Ronny Quevedo, every measure of zero (up is down), 2017; Ronny Quevedo, oro blanco, 2017; Ronny Quevedo, Notes on the poetics of relation #2, 2015; Clarissa Tossin, Yaxchilán Lintel 25 (feathered serpent), 2017; Ronny Quevedo, The Main Event (Nomadic Structures), 2016; Ronny Quevedo, origin points of lyra (5-3-2-1), 2017; Ronny Quevedo, Errant Globe, 2015. Installed on floor: Ronny Quevedo, Orders of Magnitude (desde Qoricancha), 2018. Photograph by Ron Amstutz
From the exhibition Pacha, Llaqta, Wasichay: Indigenous Space, Modern Architecture, New Art
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Installation view of Pacha, Llaqta, Wasichay: Indigenous Space, Modern Architecture, New Art (Whitney Museum of American Art, New York, July 13–September 30, 2018). From left to right: Clarissa Tossin, A cycle of time we don’t understand (reversed, invented, and rearranged), 2017; Clarissa Tossin, xojowisaj ja (to make the building dance), 2017; Clarissa Tossin, Ha’ K’in Xook, from Piedras Negras to Hill Street, 2017; Clarissa Tossin, Ch’u Mayaa, 2017; Clarissa Tossin, Yaxchilán Lintel 25 (feathered serpent), 2017; Clarissa Tossin, A two-headed serpent held in the arms of human beings, or, Ticket Window, 2017. Photograph by Ron Amstutz
From the exhibition Pacha, Llaqta, Wasichay: Indigenous Space, Modern Architecture, New Art