Classification
Drawings
Medium
Gold leaf on dressmaker's tracing paper
Dimensions
Sheet (sight): 9 3/4 × 13 in. (24.8 × 33 cm)
Image (sight): 9 3/4 × 13 in. (24.8 × 33 cm)
Accession number
2018.142
Credit line
Purchase, with funds from Ann Ames in memory of Steven Ames
Rights and reproductions
© Ronny Quevedo
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 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
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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 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
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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: 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
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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: 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