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8/6/2019 Wave Hill Exhibition Catalogue Alchemy and Inquiry
http://slidepdf.com/reader/full/wave-hill-exhibition-catalogue-alchemy-and-inquiry 1/21
alchemy & I nqu I r y PhIlIP taaffe, fred tomaSellI, terry WInterS
WAVE HILL GLYNDOR GALLERY
8/6/2019 Wave Hill Exhibition Catalogue Alchemy and Inquiry
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a l c h e m y & I n q u I r y PhIlIP taaffe, fred tomaSellI, terry WInterS
8/6/2019 Wave Hill Exhibition Catalogue Alchemy and Inquiry
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alchemy & InquIry PhIlIP taaffe, fred tomaSellI, terry WInterS
eSSay by Peter lambo rn WIlSon
ORGANIZED BY RAYMOND FOYE AND JENNIFER MCGREGOR
APRIL 3– JUNE 19, 2011
WAVE H ILL675 WEST 252ND STREET BRONX, NY 10471-2899
718.549.3200 WWW.WAVEHILL.ORG
Philip Taaffe, Sea Vent I , 2011Mixed media on canvas mounted on panel, 40 3/4 x 30 7/8 inches
2
8/6/2019 Wave Hill Exhibition Catalogue Alchemy and Inquiry
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Fred Tomaselli, Bloom #1, 2011
Gouache on photogram, 14 x 11 inches
54
IntroductIon
Alchemy & Inquiry ss ss si
isv is wk Piip t, f tsi,
t Wis, sis i i g wii
xpi . f s iss, kig ivvs i-
si i is, si, , wi ispii
gig i isis iig fi gis
px w s. e s vp iivi
pp iizig ivs ss wi ski
ssizig vis, , i, siifi is. tis
sig, ig, ig s wk is igi,
ispi, ifli. t wks viw ivi x p kig; g i sig xiii,
pis si xpi.
t xs, s, ss g w
pi is xiii. t iiiv j piis
s wkig g g is g
s G G. e is pis
pss isi xpi, js s g Wv
hi s isi s ssis. I n G,
Piip t’s piigs s isis wi Wi G-, ss piii psi is
ig si i is i
ivig g. I , xpi
sig i f tsi’s piigs wks
pp—wi i i psss i- -
gs v svs p ssi viwig—is ki
8/6/2019 Wave Hill Exhibition Catalogue Alchemy and Inquiry
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7
sig fw G i J, kig i
p iivi p . t Wis’
px s wigs piigs, wi i
-ik figs ig i , s iis wi
si--si h, d, api Gs. t g s is, pi i sss, pvi
wk gw ps s ss wi s
w ps v.
t w “” i xiii i s s-
i vs: i, gi, spii.
civ pws s s s
psi pi i sss g v. I
is iiig ss, P l Wis xis
i hiis ( i spii, pisp-
i, gi ii ks is Gk
g hs egpi g t) is wk
Wis, tsi t. I s ss-
pspiv gig p-is ps, Wis
ks s iss, ig, sppss
pi s si g siiss iss ik.
Wi pis isigs pfig ip is-
vis i ig, is, psis, ikwissi is si ps pis, svig
s g psi isi ii spii.
I i ws is ki spiiiz si i w
isiis g s sjs isipis w ss
igi w.
Wv hi b m Ki mi, w s pis
ks pis wi iss, ivi ip
6
Terry Winters Pollen, 2011
Suite of nine relief prints with embossment, 18 x 14 inches
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98
r f s s s piig x-
iii Propagating Eden: Uses and Techniques of Nature Printing in
Botany and Art . W ii g isss w wk
t, tsi, Wis is s w si Wv hi
G G. f ig ispii gs ips is xiii. o i
iss visi g viw gs xi-
ii sp; p s i ps wks
iss, s g p is ji xiii.
W x g ppii Piip t, f
tsi, t Wis ig g -
sp ig s w piigs, pis, wigs.
tks s spiv Ggsi G, Js
c G, mw mks G, w ps
iss v ii is xiii. tk
a Sw vig vsi is sw Js
c G Sgi is . dp gi -
s r f is visi iig, Ki mi
ispii t G Pss sig
is g. h ks Wv hi b ex-
iv di ci b sig s
vi p Wv hi xpi. fi, ppiiis -wkig gs w k Wv hi
s i is, pi i
Gi Gz Spi liis, w ig j
ivi v kig.
— JennIfer mcGreGor
WAVE HILL SENIOR CURATOR
Philip Taaffe, Cereus Chrysocentrus , 2011
Mixed media on canvas mounted on panel, 53 1/2 x 59 inches
8/6/2019 Wave Hill Exhibition Catalogue Alchemy and Inquiry
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1110
maGI-ISm by Peter lamborn WIlSon
I.
W hen, In the early 1950s, i ci c, cs
os iv fis s postmodern, i
w Psis w : xsi
ig, flig iis, si vii i
p pisgis. os p igi i-
gis hig mis wi is isizi pgss
i i, w v p
sig ik iis 1960s, wi is psis
spiii . a i sixis— i s— pis ri pj jig m
, wi s i v si
vivifii g- vs— “evsig Gsp,” s
bk i— e av-G—si
pii i, s svs.
Sw s i ps-
is pp, wi viw i vs s
s psiflg p iis
sixis wi ivis wiw i spii iz 1980s si sps
’s fii si sss. t sss w w
s s is s ifi ig xp ip
cpi, js s a W s gi . t
csss ws w ... ws sss. a
i av-G.
Fred Tomaselli, Dahlia , 2011
Photo collage, acrylic, resin on wood panel, 48 x 48 inches
8/6/2019 Wave Hill Exhibition Catalogue Alchemy and Inquiry
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1312
I is sp i pp ipssi ii
ri telos sixis, wi is vi s iv
spiiiis ppssiv igis. hwv i ws
, g, iss w w is si. f
Wssi Kisk’s On the Spiritual in Art , Sis’sisv , as expssiis’s p ivv-
i siis, i ws’ iss w i
e v-g, i ws iss iis
w g is is. Si, v ss-
ss Ps uivsis (“wv”) p
pssiii some iss w s ivsig
s vsig ri v s
s ps s ig, i w ii
, i ’ pp s
gis P cpi is ii pgiss. I ws,
w os’s i w w is “ps
”, not i iiiss.
ts iss w isv w “ ” (i
ri’s ps), w spii wi pig
psi kis, w j sigifi wi
sifiig ps s si vsi
, s igisi nw Sv mi.S s iss— w I’ wig i
sjs—w Kisk’s pps ipi j:
g expssiis Sis as expssi-
is w si i wi “ipi”
psi ig w w p
ps i (s)sisss is viw ik. I
is , w suppress s
iiis s v i i gi i
ps ss is i. I spkig
t Wis, Piip t f tsi, wv,
g v ivk Kisk-ik Hermeticism
fi ki k. t w s ps-is s i sp i wi i isiis
Gi b’s P m is pi “s”
s s s s i s wi i
p-Sis is.
as g g isi c Ss (
Wsk, ny) pi , “s” nii
“piiiv” siis is i p wi si
psi ( v ggi/isi) . I
s devolve i wiig, i s pi i-
sip ig. Is pig s is
gi, wi w s ppi s, s, xi i
pi g wp sk—v i w v s
code.
I m dp W w fi
ps ii , dp s s s h-
iis pi; i ws p is i
sj. (W, i ig, ws spi ci si.)f dp is “sis jks” ( i )
s, s, Jsp c is xs h Si
is v hi i -s, is jzz piigs.
t s different iss s Wis, t tsi, v
is i , is s psi sssi i e
av-G. hiis—Pss, rsiis,
b—ivs s riis. nvis is
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1514
-hiis, s is Wii bk. a hiis s is
i p s—I’ ik iv— secret v-g,
- si visi.
II.
It SeemS PoSSIble spk w Green Hermeticism
psss s visis wk pis. f
tsi spk Ps svs i
ag—i.., k w s ps i-
ig wi s vi i “i is” ig s
“g gs i g s.” Piip t’s wk,
si vgiv, vi pis -
pisp iss i iss “i” s
is w piigs.
I t Wis’ s wks piig i flws,
s G si is psis fl
pg g v “piizi si”
nvis i Disciples at Saïs, ivi
“ w ”: Novalis Green. ts i viis vg
xpssi s si t Wis’ ks sis
i sps gss—wvs ig, “fis
g s g” gs n s. ts flws i wi t, s i is sp si
ig. t s is deeply familiar. h,
is -s, w i Igii. I hi
s— egg cs.
Wis ps ig k i kig
iig is w is, iig pigs, is,
sis, wxs vis sis. ts igis s
Terry Winters, Hexagram / 3 , 2011
Graphite, gouache, acrylic, ink on paper, 22 3/ 8 x 30 inches
8/6/2019 Wave Hill Exhibition Catalogue Alchemy and Inquiry
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1716
k i w i s w s si s. as wi
iss/iss ps (s s Pigii dss
dssi), Wis vs i i ig s s
is sip isv i s. W is
w? Sii wi sis, s, p pgis,ss, pps ws vi sis
v is.
I was taken with the architecture of natural forms. My approach
wasn’t representational; it was both abstract and structural. I
was developing a way of working, where abstraction becomes
a strategy —“to imitate nature in her manner of operation”—
that’s John Cage quoting Coomaraswamy. I wanted abstract im-
ages that had the specificity of real things. It was my interest inrealism that led me to Gilles Deleuze. He was able to construct
a believable model; a logical genesis of form, which described
virtual, even spiritual entities. Painting is one way to visualize
those other possible states.
— TERRY WINTERS1
f Wis, si s k s
vi igis–igis v s i v
is cs cpxi t “
pssi ss” Piig. f i n is fl
p piips wi w is s.
o
If PSychedelIc art had k
is i, s i is n cii, is
Terry Winters, Hexagram / 1, 2010
Graphite, gouache, acrylic, ink on paper, 22 1/8 x 29 3/4 inches
8/6/2019 Wave Hill Exhibition Catalogue Alchemy and Inquiry
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19
Fred Tomaselli, Coldframe , 2011
Leaves, acrylic, resin on wood panel, 30 x 24 inches
18
i 1968 Sgi-l iv visi si
w sv is, w xp i v
i psi v evolved, fi
ifi, ii i s
v gis i ii. I , ’xp sig ik pi f tsi.
I 1968, I ws w- s s i
of gi—ws siis j
Vi W, w Ii, . I sixis
i, i s i j s. V s-b-
ss ps-oiisi i ws. b tsi, i
i sixis , is ik fi h w s i s
v i i pis w
v fiv s i piss i s all
called Homer. tsi is our s, our ai,
lSd gi’s s-is, s w sig s,
ws, how much has gone down, s ws ( gi)
si. Ss a, Kws a— is .
[My] work was initially inspired by the pre-modern ideal that
painting is a window to another reality, a vehicle of transportation
to the sublime and the transcendent. The rhetoric of psychedelia
and various strains of alternative culture happen to posit similar
values, and the parallels between the two worlds intrigue me:
escapism, altered consciousness, pleasure, beauty, desire and
seduction, as well as the consumption of fetishistic commodities
dependent upon surplus wealth and leisure time.
— Fred Tomaselli 2
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20 21
ig. Igi: is s iis, iig
i ps vg sis, forbidden bi
ug Spii, mi Pi.
oI entered w Piip t vi is wk wi
pp; i wiig sj i, I ws -
vi s ig is isi hi ,
iv vi tkis Sfis cis tis, i wi
is “ivi” dowse ss sig si
t, v iv flx printed on
water. t ’s ii i ep ws w
rsiis G I. mwi, I sw Piip
t kig iggs s i igs i
w is . Natura naturans, ig, p-
vis yin ss ig— yang is ppi
is, i vig “sig ” is w s
iig i pp, subliming i s fixing i ik
fl pi .
ci iss is wi ssi v wig
w i wks (fis b, pps). b
g iss ps, s i ’ s wi
s w-g g xpi. o is at
home i i wk, w far out i gs, s is
ii iifii, is “ivisi g i”
(s P bk i) w is viw, ss
s i. This ws pppi s i
ss g . I’s w. Piip
My love of nature has been a big part of my life since I first dis-
covered that it wasn’t a cultural fabrication. This is going to
sound strange, but I didn’t find this out until I was a teenager
while hiking with some friends. We eventually came across a
waterfall and I promptly began searching for the conduit that
made it run. It blew my mind that it ran without power or plumb-
ing! I found out that nature was real and not just a construct. As
a result, I slowly morphed into an amateur naturalist and casual
birder and began collecting a library of various field guides. I
guess it was only a matter of time before they found their way
into the work.
— Fred Tomaselli 3
ci x- sps s
iv xpi sig
i. a visi ap ci w kw
tsi’s piigs i real pis, j vs,
sp pis, wv— real illegal drugs. b w igs
i si is wi pvi w ikig
tsi’s wks. t w is piigs—i
fs v w k iss i—w , sip,
i. Is a crime, . tis s ig
tsi’s . b, , w i s, ’s s, p.
hw wig? W aura.
I p w , pi i-g siss
piss, gi si g ss ssi vi
gi gs vis (ig) iws, w
tsi’s piigs s vi. t pi is i
gs not is w s k
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2322
t’s orientalismo, xp, ivs is ps
s s visi, pis s
pppii igi es s p
is v p p .
n: I orientalismo ki i viw ess Ws ris es ris,
ss “xi” i psiiv w, v s
is, is i, i is i. tis
is “i gz,” i is “pppii,” s
w. I is (s J G p i) Pis lv.
tis v is p Sis’s mad love, s i is
ss ii i; is is ik
Si p ais i is pis Sfis Sis.
aig hi i is lv ai is
css is, spii fi
isigis i ivi
divine play . tis ii ws fi G nis
ri Si—G— i nvis. I ws
-fi Sis, i is isv
gi. I’s e av-G, si visi
bk’s “evsig Gsp.”
Essentially, everything in my work is about a process of descrip-
tion. My attitude towards repetition has to do with the cumulative
effect of continuous applications of line and color. If we focus on
that, and see them as crystallized into patterns or marks, what
do they add up to? They become some kind of actively struc-
tured field. I see that as being an entrance to a trance-like
state. I’m interested in inviting the possibility for ecstatic
Philip Taaffe, After Alcyonaria I , 2011
Mixed media on canvas mounted on panel, 30 7/8 x 40 3/4 inches
8/6/2019 Wave Hill Exhibition Catalogue Alchemy and Inquiry
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2524
experience, for getting outside of stasis. My roots are from
Ireland, and I suppose a subtext to my work must relate to these
Celtic shamanistic traditions. The work is also about movement,
or how we see in a constant series of glimpses. What do I want
my art to accomplish? What do I expect it to be like as a physical
encounter? I think the best thing one can hope for is to be able
to enter into another world.
— Philip Taaffe 4
III.
that “other World” t s w s
Mundus Imaginalis, ig pisp h ci,
w aps, civ Igii. nig
g sii iss
s— w s, p ifl hiis— w i
i sig ik “nw hiiss”?
nws, s iss wis s “v-g”
s g v s—
hiis is, i, “” v-g, vs-
ig i v gis ppssi
spii. Pss ks p s Igii,
p Sfi ss, psss i n-
pisps, ps pis riis, w pss i Siss, Psiis —
pis. I “ w” is ws ig (
e) v w ig is of si. t swiig
s pp n-isi pg ks,
pggi pig ifl vis phantas-
tica—s igs ssss gig —
s ig is.
Philip Taaffe, Aspidium, Aspenium, Pteris , 2011
Oil pigment on canvas, 39 x 63 1/2 inches
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2726
a iss v i , i s,
sssi wi ig—wi gw s
ps i . I ii G, s iss
sv si. t poeticize science,
nvis gi.lik gi, spiii not
wi giz igis i gi pxis,
wi nw ag vpiiis, wi sis, ivs pi-
i spiii gs i i
iivi, s spk, js piss kigs. Wi
is pre-modern gs (s tsi p i) ss s
i gi k pp. Pgis
is isiz i fii. a is
isipi iks si s — ssi
si (g ps ),
g, nw a—wi i -
ig is igs iii.
t s iss ig k s
hiiss— d. d ew K m
h vis wisss S cii—is is ss
isig nw hi Pig,
ig s t c. t nw a
gi sks i is s, s s-
i xpi spii at-oned—“s v,
s w”— Emerald Tablet of Hermes Trismegistus.
o
noteS
1. t Wis, pis iviw wi , d 12, 2007
2. f tsi, “m ci Si,” pi i Monsters of Paradise (e-
ig: fik G, 2004), p. 43
3. I b, “Kwig nig: a dig wi f tsi” i ftsi (mi: Ps, 2009), p. 57
4. Piip t, Iviw wi hi S, The Aspen Times, ags 1,
1999, 11-b
Peter lamborn WIlSon is is, p s
Sfis Ws hiis, w-kw i-
is si ik. h is Green Hermeticism:
Alchemy and Ecology wi cisp b Kvi tw-
, Sacred Drift: Essays on the Margins of Islam, Escape
from the Nineteenth Century. h i Avant Gardening: Ecological
Struggle in the City & the World wi bi Wig. I s
s i s sss wk Piip t t Wis g s gs i
ui Ss ep. his s k ps is
Ec(o)logues: A Neo-Pastoralist Manifesto.
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2928
PHILIP TAAFFE
b 1955, eiz, nJ
livs wks i nw yk, ny
Wi kig is s ivs ss Piip
t gizs wk g ispii w
i, pg is. t s
xp is s ivs s pp ig, -
i, i, g ig. his i isi
s v i Wii bgs, P
bws, m m, S bkg. n
piig is pps s si
xp is piigs pis. t s p- iip i ii xiiis sv s,
iig cgi Ii (1991), bi
S (1996) bii exiiis, Wi
ms ai a, nw yk (1987, 1991, 1995),
wi iivi sv xiiis IVam, Vi
(2000), Gi 'a m, S mi (2004),
Kss Wsg (2008). his wk is i i
s pi is, iig t ms
m a, nw yk; Pipi ms a;
t Wi ms ai a, nw yk;
S r. Gggi ms, nw yk; S
fis ms a, ms ni ri Sfi,
mi. Anima Mundi , - sv is wk
(2000–2010) s giz Iis ms
m a i di (m 22–J 12, 2011). h si
cp ui, nw yk, ny.
Philip Taaffe, Composition with Ornamental Fragments IV , 2011
Mixed media on board, 36 x 24 inches
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3130
FRED TOMASELLI
b 1956, S mi, ca
livs wks i bk, ny
a pi is i pp is
is f tsi’s pp, s s is gg
wi w i g gig, kkig,
i-wig. lvs is w g fis
i psii Coldframe. his i-
sv p asp a ms i asp, co
(2009), v tg ms Ski
cg i Sg, ny, bk ms a
i bk, ny (2010). his wk s i i sxiiis Wi c, l, Js c
G, nw yk. Fred Tomaselli: Monsters of Paradise igi-
t fik G, eig, S
(2004) v ds ai, S, Spi;
Iis ms m a, di; t rs a
ms bis uivsi, W, ma (2005). his
wk s i i s gp xiiis s
s 17 bi S, asi (2010); 2004 bii
exiii, Wi ms ai a, nw yk;
The Heavenly Tree Grows Downward: Selected Works by Harry
Smith, Philip Taaffe and Fred Tomaselli , Js c G,
nw yk (2002). tsi is ba i Piig
dwig cii S uivsi, f, ca.
Fred Tomaselli The Dust Blows Forward, The Dust Blows Back , 2011
Photo collage, acrylic, resin on board, 24 x 24 inches
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3332
TERRY WINTERS
b 1949, nw yk, ny
livs wks i nw yk, ci c, ny
n s s Wis giig wi wks
ispi J cg’s sis i g, gi ss-
s, ii . his sis i i,
iigs , i s pi-
igs is wk. tg is s xp
pis gig igi psss, siifi -
i fis, ii ii gis
i. h vs p i pss
i i is piigs, pis, wigs. Wis sxii xsiv, is wk is i i ip
is i ui Ss ep. h s sv
s xiiis mw mks G, s
swig is “K Gp” piigs i 2008. o s
xiiis w ps Jk Gi
b cp, h (2010); Iis ms m
a i di (2009); t mpi ms a i
nw yk (2001); Wip G i l
(1999). t sv xiii Terry Winters: Paintings,
Drawings, Prints 1994–2004 igi t ais
G ai a i av, ma, v
cp as ms hs, ms
cp a i S dig (2004). Wis iv
bfa P Isi, bk, ny.
Terry Winters, Wave Hill , 2011
Oil on paper mounted on composite board, 32 1/8 x 44 1/8 inches
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PUBLISHED IN CONJUNCTION WITH THE EXHIBITION
al ch em y & I n q u I r y PhIlIP taaffe, fred tomaSellI, terry WInterS
APRIL 3– JUNE 19, 2011
WAVE HILL675 WEST 252ND STREET
BRONX, NY 10471-2899
TEL 718.549.3200
WWW.WAVEHILL.ORG
COVER: Terry Winters, Hexagram / 3 , 2011, (detail)
Graphite, gouache, acrylic, ink on paper 22 1/2 x 30 inches
PHILIP TAAFFE: COURTESEY OF GAGOSIAN GALLERY, NEW YORK
FRED TOMASELLI: COURTESY OF JAMES COHAN GALLERY, NEW YORK/ SHANGHAI
TERRY WINTERS: COURTESY OF MATTHEW MARKS GALLERY, NEW YORK
DESIGN: THE GRENFELL PRESS, NEW YORK
PHOTOGRAPHY:
P. 4, 10, 19, 30 ERMA ESTWICK
P. 6 TWO PALMS PRESS
P. 2, 8, 22, 25 JEAN VONG
P. 14, 17 RON AMSTUTZ
P. 28 TOM POWEL
P. 32 UNIVERSAL LIMITED ART EDITIONS
ALL WORKS ARE COPYRIGHT OF THE INDIVIDUAL ARTISTPUBLICATION COPYRIGHT 2011 WAVE HILL
ESSAY COPYRIGHT 2011 PETER LAMBORN WILSON
EDITION OF 3000
ISBN 978-0-9831098-1-5
ABOUT WAVE HILL
Wave Hill is a 28-acre public garden and cultural center in the Bronx over-
looking the Hudson River and Palisades. Its mission is to celebrate the artistry
and legacy of its gardens and landscapes, to preserve i ts magnficent views,
and to explore human connections to the natural world through programs in
horticulture, education and the arts.
SUPPORT FOR WAVE HILL’S VISUAL ARTS PROGRAM IS PROVIDED BY THE LILY
AUCHINCLOSS FOUNDATION, INC., MILTON & SALLY AVERY ARTS FOUNDATION, THE
GREENWALL FOUNDATION, AND THE NEW YORK STATE COUNCIL ON THE ARTS,
CELEBRATING 50 YEARS OF BUILDING STRONG, CREATIVE COMMUNITIES IN NEW
YORK STATE’S 62 COUNTIES.
TARGET FREE DAYS
TARGET SPONSORS FREE TUESDAY AND SATURDAY
MORNING ADMISSION TO WAVE HILL, PROVIDING
ACCESS TO THE ARTS IN OUR COMMUNITY.
8/6/2019 Wave Hill Exhibition Catalogue Alchemy and Inquiry
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Fred Tomaselli, Bloom #2 , 2011
Gouache on photogram, 14 x 11 inches
36
8/6/2019 Wave Hill Exhibition Catalogue Alchemy and Inquiry
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Bronx, NY 10471- 2899
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