Materials and process are inextricably tied to one another. To make his sculpture Patrick, for example, Oliver Herring photographed his sitter over the course of several sittings to document every nook and cranny of his body; this labor-intensive method is made visible in the hundreds of photographs that comprise Patrick’s “skin.” Antonio Berni’s collagraphs, by contrast, belie the artist’s intricate procedure of making, which began with accruing debris from the street. Finally, tape played an integral role in Jaime Davidovich’s practice—its transparency and liminal nature perfectly captured his interest in boundaries, both physical and conceptual.
Retrato de Ramona [Portrait of Ramona], 1963 (detail)
Collage of collagraph prints
The Blanton Museum of Art, The University of Texas at Austin
Gift of the Museum of Modern Art, 1982