1995.147, Robert Moskowitz, Untitled (Empire State Building), 1980, graphite, pastel on paper


GENERAL DESCRIPTION  
Robert Moskowitz has blended the border between literalness and abstraction since the 1960s. In the 1970s, he became a prominent leader of the New Image movement (from the Whitney Museum's 1978 exhibition "New Image Painting"). Following a decade dominated by minimalism, this group of artists, which included Nicholas Africano, Neil Jenney, and Susan Rothenberg, brought back figural imagery as a vital formal tool as well as a psychologically charged instrument.

Moskowitz is interested in architectural structures as a means to explore the balance between abstraction and representation. In the 1970s he created "rooms," an arrangement of doorways, corners, and beams on a single color field, which relates to American precisionism, most notably the work of Charles Demuth and Charles Sheeler. In the late 1970s and the early 1980s, Moskowitz began to create epic-scale works of Western cultural and popular icons — Auguste Rodin's Thinker, Constantin Brancusi's Bird, the Empire State Building, the World Trade Center, the Flatiron Building—as well as smokestacks and lighthouses. These concise, familiar images on elusive, textured backgrounds reveal Moskowitz's connections to both pop art and abstract expressionism.

Tall and thin, the iconic Empire State Building appears to rise endlessly against a dark background.  It contains a wonderful tension between surface and depth.  Parts of the building, alternately solid and dappled, are luminous. Of both monumental and human scale, this image ironically elicits feelings of grandeur and intimacy.

Excerpt from
Suzanne Weaver, "Untitled (Empire State Building)," in Dallas Museum of Art: A Guide to the Collection, ed. Charles Venable (New Haven, NJ: Yale University Press, 1997), 289.

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PROVENANCE 
n.d. Margo Leavin Gallery, Los Angeles, CA [1]

Until 1995: Collection of Marguerite and Robert K. Hoffman, Dallas, Texas [2]

From 1995: Dallas Museum of Art, gift of the above

[1] See Art Dealers Association of America correspondence in Collections Records Object File 1995
[2] See Long-term loan agreement in Collections Records Object File 1995.147

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Apply to objects where number equals 1995.147

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General Description
 
Robert Moskowitz has blended the border between literalness and abstraction since the 1960s. In the 1970s, he became a prominent leader of the New Image movement (from the Whitney Museum's 1978 exhibition "New Image Painting"). Following a decade dominated by minimalism, this group of artists, which included Nicholas Africano, Neil Jenney, and Susan Rothenberg, brought back figural imagery as a vital formal tool as well as a psychologically charged instrument.

Moskowitz is interested in architectural structures as a means to explore the balance between abstraction and representation. In the 1970s he created "rooms," an arrangement of doorways, corners, and beams on a single color field, which relates to American precisionism, most notably the work of Charles Demuth and Charles Sheeler. In the late 1970s and the early 1980s, Moskowitz began to create epic-scale works of Western cultural and popular icons — Auguste Rodin's Thinker, Constantin Brancusi's Bird, the Empire State Building, the World Trade Center, the Flatiron Building—as well as smokestacks and lighthouses. These concise, familiar images on elusive, textured backgrounds reveal Moskowitz's connections to both pop art and abstract expressionism.

Tall and thin, the iconic Empire State Building appears to rise endlessly against a dark background.  It contains a wonderful tension between surface and depth.  Parts of the building, alternately solid and dappled, are luminous. Of both monumental and human scale, this image ironically elicits feelings of grandeur and intimacy.

Excerpt from
Suzanne Weaver, "Untitled (Empire State Building)," in Dallas Museum of Art: A Guide to the Collection, ed. Charles Venable (New Haven, NJ: Yale University Press, 1997), 289.

Fun Facts

Archival Resources

Web Resources
 

Notes

Catalogue essays

Artist/designers

Cultures

Geography 

Process/materials

Historical periods

Individuals

Subject terms

RELATED OBJECTS 

PROVENANCE 
n.d. Margo Leavin Gallery, Los Angeles, CA [1]

Until 1995: Collection of Marguerite and Robert K. Hoffman, Dallas, Texas [2]

From 1995: Dallas Museum of Art, gift of the above

[1] See Art Dealers Association of America correspondence in Collections Records Object File 1995
[2] See Long-term loan agreement in Collections Records Object File 1995.147

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1995.147
tags
#draft
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*Contemporary Art
abstraction: AAT: 300056508
red (color): AAT: 300126225
rectangles (parallelograms): AAT: 300055636
geometric shape: AAT: 300263819
verticality: AAT: 300056325
drawing (visual works): AAT: 300033973
New York (New York/United States): TGN: 7007567
black (color): AAT: 300130920
flat (form attributes): AAT: 300010345
buildings (structures): AAT: 300004792
architecture (object genre): AAT: 300263552
Precisionist (style): AAT: 300109010
graphite pencils: AAT: 300022443
pastels (visual works): AAT: 300076922
frontality: AAT: 300056274
Moskowitz_Robert: ULAN: 500058169
source file
object_notes_3_a-0468.xml.nores