Kathan Brown

Brown, Kathan

American, born 1935

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  • The image shows a small and simple line drawing of a person standing in a posture that suggests they might be slightly turned to one side. The figure has a suggestion of longer hair and is dressed in a garment that could be interpreted as a dress or a coat. Facial features are not distinguishable and there are no visible accessories or objects in their hands. The background is a large, plain expanse of paper surrounding the small square of the drawing, which is positioned centrally on the upper part of the paper.

    A Young Woman in a Raincoat

    Dan Flavin, Crown Point Press, Kathan Brown, Lilah Toland, Stephen Thomas

    1978

    Drypoint on arches satine heavyweight paper  Accession ID  2001.142.35

    Not on view
  • The image shows small black numbers arranged on a light background, along with circular cutouts forming a grid on a dark background. The numbers form a loose outline resembling the upper half of an hourglass. The holes create a structured form, echoing the shape suggested by the numbers. This composition plays with the contrast between numeric order and physical voids.

    Meditation on Theorem of Pythagoras from Q.E.D.

    Mel Bochner, Parasol Press, Crown Point Press, Kathan Brown

    1974

    One from a portfolio of four etchings with aquatint on wove paper, printed chine collé  Accession ID  2022.35.1.2

    Not on view
  • The image features two adjacent rectangles. The left rectangle displays small numbers arranged in a circular pattern atop a light background. The right rectangle displays a circular arrangement of white dots against a darker background. Both sections offer an abstract portrayal that suggests symmetry and mirroring.

    Ten from Q.E.D.

    Mel Bochner, Parasol Press, Crown Point Press, Kathan Brown

    1974

    One from a portfolio of four etchings with aquatint on wove paper, printed chine collé  Accession ID  2022.35.1.4

    Not on view
  • The image includes a large expanse of off-white space with a single line of small text in the lower central portion. The wide empty space can be compared to a blank canvas or a quiet room with a solitary detail. The text is the only structured element, similar to a horizon line in a clear sky.

    Q.E.D.

    Mel Bochner, Parasol Press, Crown Point Press, Kathan Brown

    1974

    Portfolio of four etchings with aquatint on wove paper, printed chine collé  Accession ID  2022.35.1.1-4

    Not on view
  • The image contains two rectangular sections on a white background. The left section has a pattern of small figures, while the right section has a matching arrangement of circular holes. This creates a visual rhythm resembling steps or a staircase. The left section contains numbers in a deliberate sequence, while the right section features a tactile pattern of holes on a dark surface, mirroring the numeric layout. The combination of numbers and physical cutouts could evoke coded punch cards or abstract instructions.

    Five and Fifth from Q.E.D.

    Mel Bochner, Parasol Press, Crown Point Press, Kathan Brown

    1974

    One from a portfolio of four etchings with aquatint on wove paper, printed chine collé  Accession ID  2022.35.1.1

    Not on view
  • There are two rectangular panels side by side. The left panel is beige with small black numbers and lines arranged in a downward staircase pattern. The right panel is dark gray with larger circular holes mirroring the pattern on the left.

    Principle of Detachment from Q.E.D.

    Mel Bochner, Parasol Press, Crown Point Press, Kathan Brown

    1974

    One from a portfolio of four etchings with aquatint on wove paper, printed chine collé  Accession ID  2022.35.1.3

    Not on view
  • The image displays a large, rectangular composition divided into two sections. The upper part is a solid, dark abstract shape, contrasting with the lower section. Below, a pattern of crisscrossing lines forms a textured surface resembling dense scribbles or wire mesh. The overall effect can be likened to a night sky above and a tumultuous sea or tight-knit fabric below.

    Ten Days (c)

    Brice Marden, Kathan Brown, Patricia Branstead, Parasol Press

    1971 (published 1972)

    Etching and aquatint in black and silver on arches paper  Accession ID  2003.92.3

    Not on view
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    Ten Days

    Brice Marden, Kathan Brown, Patricia Branstead, Parasol Press

    1971 (published 1972)

    Portfolio of eight etchings  Accession ID  2003.92.1-8

    Not on view
  • The image shows two large rectangular shapes split by a thin, straight line in the center. The background is a muted beige with faint specks.

    Ten Days (g)

    Brice Marden, Patricia Branstead, Kathan Brown, Parasol Press

    1971 (published 1972)

    Etching and aquatint in black on arches paper  Accession ID  2003.92.7

    Not on view
  • The image displays a large rectangle divided into two sections - a dark blue rectangle on top and a light beige rectangle below. The composition resembles a clear sky meeting a sandy beach, creating a contrast between the two colors. A sharp horizontal line separates the two halves, emphasizing the division. The image contains only these color blocks.

    Ten Days (b)

    Brice Marden, Patricia Branstead, Kathan Brown, Parasol Press

    1971 (published 1972)

    Etching and aquatint in black and blue on arches paper  Accession ID  2003.92.2

    Not on view
  • The image shows an intricate network of intersecting lines forming a dense grid pattern. The abstract composition features criss-crossing diagonal lines within small squares. The grid structure and the overlapping lines create a textured surface.

    Ten Days (d)

    Brice Marden, Kathan Brown, Patricia Branstead, Parasol Press

    1971 (published 1972)

    Etching in black on arches paper  Accession ID  2003.92.4

    Not on view
  • The image is divided vertically into two equal halves. The left side is light and textured, while the right side is a solid, dark rectangle. The composition resembles an abstract representation of an open door or window, emphasizing the contrast between light and dark. The image is simple with bold lines and contrasting tones.

    Ten Days (f)

    Brice Marden, Kathan Brown, Patricia Branstead, Parasol Press

    1971 (published 1972)

    Etching and aquatint in black on arches paper  Accession ID  2003.92.6

    Not on view