Untitled 3 is part of a series of six insistently vertical paintings exhibited by the artist at the Betty Parsons Gallery, New York, in 1951, in which Newman translated his signature compositions, “zip” paintings, into three-dimensional objects. Painted on canvas over an unusually thick frame, strips of cadmium red and silver gray thrust outward toward the viewer, dismantling the boundary between painting and sculpture. Concerned about the odd appearance of the deep sides of these works, the painter Jackson Pollock, a friend of Newman, constructed simple wood frames for the first three, this one included.
Date
Dates are not always precisely known, but the Art Institute strives to present this information as consistently and legibly as possible. Dates may be represented as a range that spans decades, centuries, dynasties, or periods and may include qualifiers such as c. (circa) or BCE.
Thomas Hess and Edy de Wilde, Barnett Newman, exh. cat. (Amsterdam: Stedelijk, 1972), 71, cat. 25 (ill.), 72, 73.
Thomas Hess and Blaise Gautier, Barnett Newman, exh. cat. (Paris: Grand Palais, 1972), 71, cat. 25 (ill.), 72, 73.
Thomas Hess and Norman Reid, Barnett Newman, exh. cat. (London: Tate Gallery, 1972), 45 (ill.), 86.
Robert Melville, “Birth of the Stripe,” The New Statesman, July 14, 1972, 66.
Alfred Pacquement, “Barnet Newman: Qui a peur du rouge, du, du jaune et du bleu?,” Le Petit Journal des Grandes Expressions, Oct. 11-Dec. 11, 1972, 3.
Rudolph Louw, “Newman and the Issue of Subject Matter,” Studio International, 187, no. 962 (Jan. 1974): 31.
Benjamin Garrison Paskus, “The Theory, Art, and Critical Response of Barnett Newman,” Ph.D. disertation (Chapel Hill: University of North Carolina, 1974), 138-39, 140-41.
Harold Rosenberg, Barnett Newman (New York: Harry N. Abrahms, Inc., 1978), 104, 105, no. 68 (color ill.).
Germain Viatte, “Barnett Newman: L’illumination de Shining Fourth,” Cahiers du Musée National d’Art Moderne, no. 1 (July-Sept. 1979), 114.
Jean-François Lyotard, “L’instant, Newman,” in L’art et le temps : Regards sur la quartième dimension, ed. Michel Baudson (Brussels : Société des Expositions du Palais des Beaux-Arts, 1984), 101.
Charles Stuckey, “A Stroll Through the 20th Century,” Chicago Tribune, Nov. 6, 1988, 21.
Michael Leja, Barnet Newman’s Solo Tango,” Critcal Inquiry 21, no. 3 (Spring 1995): 572.
James N. Wood and Teri J. Edelstein, The Art Institute of Chicago: Twentieth-Century Painting and Sculpture(Chicago: Art Institute of Chicago, 1996), 100, (color ill.).
Ann Temken, Barnett Newman, exh. cat. (Philadelphia: Philadelphia Museum of Art, 2002), 75, no. 158, 184, 216.
New York, Betty Parsons Gallery, Barnett Newman, Apr. 23-May 12, 1951, no cat., as no. 14-1951.
New York, Allan Stone Gallery, Newman-de Kooning, Oct. 23-Nov. 17, 1962, no cat., as Untitled 56” x 3” 1950.
New York, Museum of Modern Art, Barnett Newman, Oct. 21, 1971-Jan. 10, 1972, cat. 25; Amsterdam, Stedelijk Museum, Mar. 30-May, 22, 1972, cat. 23; London, Tate Gallery, June 28-Augu. 6, 1972, cat. 23; Paris, Grand Palais, Galeries Nationales, Oct. 10-Dec.11, 1972, cat. 23.
Estate of the artist; by descent to Annalee Newman, New York, sold to the Art Institute of Chicago, 1988.
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