Mika Tajima, Negative Entropy (Digital Ocean, NYC2, 4U, NAS, Pink, Quad), 2018. Cotton, wood, acoustic baffling felt, overall: 72 1/8 × 55 × 2 1/4 in. (183.2 × 139.7 × 5.7 cm). Whitney Museum of American Art, New York; purchase, with funds from the Digital Art Committee and the Painting and Sculpture Committee 2019.323. © Mika Tajima, courtesy Taro Nasu, Tokyo
Not on view
Date
2018
Classification
Textiles
Medium
Cotton, wood, acoustic baffling felt
Dimensions
Overall: 72 1/8 × 55 × 2 1/4 in. (183.2 × 139.7 × 5.7 cm)
Accession number
2019.323
Credit line
Purchase, with funds from the Digital Art Committee and the Painting and Sculpture Committee
Rights and reproductions
© Mika Tajima, courtesy Taro Nasu, Tokyo
Exhibitions
Installation photography
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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: Channa Horwitz, Suite 8, 1979; Lucinda Childs and Sol LeWitt, Dance #4, 1979; Casey Reas, {Software} Structures, Sol LeWitt Wall Drawing #358, 2004 and 2016; Lucinda Childs, Philip Glass, and Sol LeWitt, Dance, 1979 and 2014; June Paik, Fin de Siècle II, 1989; Josef Albers, Variant I, 1966; Josef Albers, Variant IX, 1966; Josef Albers, Variant VIII, 1966; Josef Albers, Variant III, 1966; Josef Albers, Homage to the Square VI, 1967; Josef Albers, Homage to the Square III, 1967; Josef Albers, Homage to the Square I, 1967; Josef Albers, Homage to the Square II, 1967; Josef Albers, Homage to the Square XI, 1967; Josef Albers, Homage to the Square VII, 1967; John F. Simon Jr., Color Panel v1.0, 1999; Mika Tajima, Negative Entropy (Digital Ocean, NYC2, 4U, NAS, Pink, Quad), 2018. Photograph by Ron Amstutz
From the exhibition Programmed: Rules, Codes, and Choreographies in Art, 1965–2018
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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: Nam June Paik, Fin de Siècle II, 1989; Josef Albers, Variant I, 1966; Josef Albers, Variant IX, 1966; Josef Albers, Variant VIII, 1966; Josef Albers, Variant III, 1966; Josef Albers, Homage to the Square VI, 1967; Josef Albers, Homage to the Square III, 1967; Josef Albers, Homage to the Square I, 1967; Josef Albers, Homage to the Square II, 1967; Josef Albers, Homage to the Square XI, 1967; Josef Albers, Homage to the Square VII, 1967; John F. Simon Jr., Color Panel v1.0, 1999; Mika Tajima, Negative Entropy (Digital Ocean, NYC2, 4U, NAS, Pink, Quad), 2018. Photograph by Ron Amstutz
From the exhibition Programmed: Rules, Codes, and Choreographies in Art, 1965–2018
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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: Nam June Paik, Fin de Siècle II, 1989; Sol Lewitt, Five Towers, 1986; Josef Albers, Variant I, 1966; Josef Albers, Variant IX, 1966; Josef Albers, Variant VIII, 1966; Josef Albers, Variant III, 1966; Josef Albers, Homage to the Square VI, 1967; Josef Albers, Homage to the Square III, 1967; Josef Albers, Homage to the Square I, 1967; Josef Albers, Homage to the Square II, 1967; Josef Albers, Homage to the Square XI, 1967; Josef Albers, Homage to the Square VII, 1967; John F. Simon Jr., Color Panel v1.0, 1999; Mika Tajima, Negative Entropy (Digital Ocean, NYC2, 4U, NAS, Pink, Quad), 2018. Photograph by Ron Amstutz
From the exhibition Programmed: Rules, Codes, and Choreographies in Art, 1965–2018