Clarissa Tossin, A two-headed serpent held in the arms of human beings, or, Ticket Window, 2017. Silicone, walnut, and plaster, overall: 44 13/16 × 53 × 5 1/4 in. (113.8 × 134.6 × 13.3 cm). Whitney Museum of American Art, New York; purchase, with funds from the Painting and Sculpture Committee 2019.37a-c. © Clarissa Tossin
Not on view
Date
2017
Classification
Sculpture
Medium
Silicone, walnut, and plaster
Dimensions
Overall: 44 13/16 × 53 × 5 1/4 in. (113.8 × 134.6 × 13.3 cm)
Accession number
2019.37a-c
Credit line
Purchase, with funds from the Painting and Sculpture Committee
Rights and reproductions
© Clarissa Tossin
Exhibitions
Installation photography
-
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
-
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
-
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