Greg Burnet

Australian, born 1953

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  • The image displays a grid of squares and rectangles forming an abstract composition on the right half of the canvas. These geometric shapes are primarily dark hues of red, black, and white, with soft edges resembling a blurred checkerboard pattern. This arrangement could evoke the structure of a quilt or a game board. On the left, there is a poem written in both Spanish and English.

    Eco del reloj [Clock Echo]

    Sean Scully, Greg Burnet

    2003

    Color etching with aquatint, sugarlift and spitbite accompanying a poem in letterpress on somerset white paper  Accession ID  2006.149.1.6

    Not on view
  • The image displays rectangles in blue, brown, and beige shades arranged in a grid-like pattern on the right side. On the left side, there is text in Spanish and English, presented formally. The image gives the impression of a well-designed art piece or a page from a book.

    [...]

    Sean Scully, Greg Burnet

    2003

    Color etching with aquatint, sugarlift and spitbite accompanying a poem in letterpress on somerset white paper  Accession ID  2006.149.1.4

    Not on view
  • The image shows an abstract composition of intersecting rectangular shapes and thick vertical and horizontal lines in various shades. The arrangement may evoke a cityscape view from above, with the lines resembling street patterns. The abstract nature of the image allows for multiple interpretations. Next to the image is a piece of text in both Spanish and English.

    Canto

    Sean Scully, Greg Burnet

    2003

    Color etching with aquatint, sugarlift and spitbite accompanying a poem in letterpress on somerset white paper  Accession ID  2006.149.1.9

    Not on view
  • The image shows overlapping rectangular shapes and lines in varying shades of red, black, and gray. The pattern resembles a patchwork or abstract cityscape viewed from above. The arrangement of color blocks may also remind one of a crossword puzzle.

    Remansillo [Little Backwater]

    Sean Scully, Greg Burnet

    2003

    Color etching with aquatint, sugarlift and spitbite accompanying a poem in letterpress on somerset white paper  Accession ID  2006.149.1.1

    Not on view
  • The image shows a composition of rectangles and elongated lines arranged in an abstract grid pattern with colors blending seamlessly. The palette includes deep blacks, warm reds, rich browns, and muted oranges, contributing to the abstraction's depth and texture. This abstract arrangement may evoke the interlocking pieces of a puzzle or the intricate design of a stained-glass window, with each color block forming a section of the whole.

    Arlequín [Harlequin]

    Sean Scully, Greg Burnet

    2003

    Color etching with aquatint, sugarlift and spitbite accompanying a poem in letterpress on somerset white paper  Accession ID  2006.149.1.5

    Not on view
  • The image displays a collection of squares and rectangles in shades of dark red and gray. The geometric shapes resemble a patchwork quilt, with some sections more vivid than others. This abstract pattern is next to a poem titled "First/Last Meditation" written in Spanish and English, contrasting the structured text with the freeform art.

    Meditacíon [Meditation]

    Sean Scully, Greg Burnet

    2003

    Color etching with aquatint, sugarlift and spitbite accompanying a poem in letterpress on somerset white paper  Accession ID  2006.149.1.2

    Not on view
  • The image displays abstract shapes, mainly squares and rectangles in a grid formation. The shapes vary in dark and light tones such as black, deep gray, muted yellow, and creamy white. There is text in Spanish and English written in a clean font next to the abstract shapes.

    Colmena [Beehive]

    Sean Scully, Greg Burnet

    2003

    Color etching with aquatint, sugarlift and spitbite accompanying a poem in letterpress on somerset white paper  Accession ID  2006.149.1.8

    Not on view
  • This is a painting of embossed text on a dark background. The painting features raised text that blends subtly with the rich black and dark gray background. The text is the opening paragraph from Ralph Ellison's novel "Invisible Man." The surface of the artwork is slightly textured, adding depth and shadow to the letters. This is in the style of Glenn Ligon.

    Untitled: Four Etchings [C]

    Glenn Ligon, Greg Burnet, Max Protetch Gallery

    1992

    Softground etching, aquatint, spitbite, and sugarlift etching on febriano murillo black wove paper  Accession ID  2004.65.1.3

    Not on view
  • The image includes four rectangular panels filled with dense lines of text arranged in blocky shapes. The first two panels have an off-white background with heavy black text, while the third and fourth panels have black backgrounds with dark grey text. This creates a visual effect where the text is more visible on closer inspection. The overall composition may evoke the appearance of typewriter keys or stencils, adding a mechanical touch to the abstract design.

    Untitled: (Four Etchings A-D)

    Glenn Ligon, Max Protech Gallery, Greg Burnet

    1992

    Series of four softground, spitbite, aquatint, and sugarlift etchings on fabiano murillo black and rives bfk paper  Accession ID  2004.65.1.1-4

    Not on view
  • The image displays an abstract arrangement of embossed text on a dark surface. The raised text forms a pattern resembling sentences, blending into the background. The design creates a mysterious and hidden message effect, reminiscent of Braille or concealed messages.

    Untitled: Four Etchings [D]

    Glenn Ligon, Greg Burnet, Max Protetch Gallery

    1992

    Softground etching, aquatint, spitbite, and sugarlift etching on febriano murillo black wove paper  Accession ID  2004.65.1.4

    Not on view
  • This is a painting of repeating text in a worn and distressed style in black on a white background. The phrase "I DO NOT ALWAYS FEEL COLORED" is repeated multiple times across the canvas. The letters exhibit fading and smudging, contributing to a weathered appearance. The text overlaps and becomes denser towards the bottom of the canvas, making it partially illegible. This artistic choice adds texture and depth to the visual interpretation.

    Untitled: Four Etchings [A]

    Glenn Ligon, Greg Burnet, Max Protetch Gallery

    1992

    Softground etching, aquatint, spitbite, and sugarlift aquatint in black on rives bfk paper  Accession ID  2004.65.1.1

    Not on view
  • The image features bold, blocky letters in a repeating pattern on a light background. The text appears printed with faded and smudged black ink, creating a distressed and textured look. The abstract arrangement of text resembles a stencil or a rubber stamp effect, with the repetitive lines suggesting a vintage typography or old typewriter font style while maintaining a modern, gritty aesthetic.

    Untitled: Four Etchings [B]

    Glenn Ligon, Greg Burnet, Max Protetch Gallery

    1992

    Softground etching, aquatint, spitbite aquatint, and sugarlift aquatint in black on rives bfk paper  Accession ID  2004.65.1.2

    Not on view