PlexisCrafts

01/23/2026

01/23/2026

Today, on what would have been her 95th birthday, we celebrate artist Lee Bontecou, one of the few women artists to receive major recognition in the 1960s.

Her greatest preoccupation as an artist was to encompass "as much of life as possible—no barriers—no boundaries—all freedom in every sense."

Like her well-known reliefs, Bontecou’s works on paper often feature organic forms, as in this drawing that evokes a wave.

See "Untitled #21" now on view in "Five Centuries of Works on Paper: The Grunwald Center at 70.”
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Lee Bontecou, Untitled #21, 1983. Pastel on paper. Sheet: 8 7/8 × 12 1/2 in. (22.5 × 31.8 cm). Collection UCLA Grunwald Center for the Graphic Arts, Hammer Museum. Gift of Margo Leavin Gallery

01/23/2026

01/23/2026

09/23/2025

09/23/2025

👉 «La realidad es como un lenguaje secreto hecho de frases mágicas, un lenguaje que es anterior a las mismas palabras.»

🖼️ Mujer, pájaro, Joan Miró, 1974. Fundació Joan Miró, . Successió Miró, 2025.

09/23/2025

09/23/2025

09/23/2025

12/02/2022

One of the great surrealist sculptors of the 20th century, Alberto Giacometti, began making this distinctive elongated, skeletal bronze sculpture in 1940s Paris.

And, in the shadow of World War II, the Swiss artist’s work struck a powerful chord.

The existentialist writer Jean-Paul Sartre once considered this isolated figure to be a visualization of the loneliness and anguish of the human condition at the end of the war. However, Giacometti insisted that this sculpture was intentionally stripped of allegory and emptied of meaning. And this emptiness was the embodiment of how many people felt at the time.

The image of a walking man preoccupied Giacometti for the rest of his career. See more works by the artist that were born out of this fascination 🔎👉🏽 bit.ly/3UtThxK
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🖼 Alberto Giacometti, “Walking Man II,” 1960, bronze, 74 × 11 × 43 in, Gift of Enid A. Haupt
📍 East Building, Upper Level, Bridge

12/02/2022

12/02/2022