A blue textured print showing concentric white circles crossed by several diagonal white lines.

Ronny Quevedo

every measure of zero (Nazca beyond the plain)

2017

Not on view

4 works in the collection
1 exhibition

View more by this artist https://whitney.org/collection/works/59812

Classification
Drawings

Medium
Silver leaf and wax on paper

Dimensions
Sheet (sight): 9 7/8 × 13 1/8 in. (25.1 × 33.3 cm) Image (sight): 9 5/8 × 12 7/8 in. (24.4 × 32.7 cm)

Accession number
2018.143

Credit line
Purchase, with funds from Michael Straus in memory of Steven Ames

API
artworks/59812

Exhibitions

Pacha, Llaqta, Wasichay: Indigenous Space, Modern Architecture, New Art

July 13–Sept 30, 2018

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). Clockwise, from bottom left: Ronny Quevedo, The Main Event (Nomadic Structures), 2016; Ronny Quevedo, origin points of lyra (5-3-2-1), 2017; Ronny Quevedo, every measure of zero (Nazca beyond the plain), 2017; Ronny Quevedo, every measure of zero (errantry), 2017; Ronny Quevedo, every measure of zero (periphery), 2017; Ronny Quevedo, (lyra), 2017; Ronny Quevedo, Errant Globe, 2015; Ronny Quevedo, Field of Play, 2016; Ronny Quevedo, Cabeza Magica, 2012; Ronny Quevedo, quipu, 2017. 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
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 bottom left: Ronny Quevedo, The Main Event (Nomadic Structures), 2016; Ronny Quevedo, origin points of lyra (5-3-2-1), 2017; Ronny Quevedo, every measure of zero (Nazca beyond the plain), 2017; Ronny Quevedo, every measure of zero (errantry), 2017; Ronny Quevedo, every measure of zero (periphery), 2017; Ronny Quevedo, (lyra), 2017; Ronny Quevedo, Errant Globe, 2015; Ronny Quevedo, ULAMA-ULE-ALLEY OOP, 2017; Ronny Quevedo, Field of Play, 2016; Ronny Quevedo, Cabeza Magica, 2012. 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
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: Ronny Quevedo, The Main Event (Nomadic Structures), 2016; Ronny Quevedo, origin points of lyra (5-3-2-1), 2017; Ronny Quevedo, Errant Globe, 2015; Ronny Quevedo, every measure of zero (Nazca beyond the plain), 2017; Ronny Quevedo, every measure of zero (errantry), 2017; Ronny Quevedo, every measure of zero (periphery), 2017; Ronny Quevedo, (lyra), 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: Guadalupe Maravilla, Tripa Chuca, 2018; Ronny Quevedo, every measure of zero (Nazca beyond the plain), 2017; Ronny Quevedo, every measure of zero (errantry), 2017; Ronny Quevedo, every measure of zero (periphery), 2017; Ronny Quevedo, (lyra), 2017; Jorge González, Ayacavo Guarocoel, 2018; Monica Flaherty, Petroglyph studies at Coabey River, Jayuya, Puerto Rico, c. 1957. Photograph by Ron Amstutz

From the exhibition Pacha, Llaqta, Wasichay: Indigenous Space, Modern Architecture, New Art