Empty Grids

Piet Mondriaan: Lozenge with Grey Lines, 1918	Jan Schoonhoven: R69-19, 1969	Jan Schoonhoven: T72-M1, 1972


Ivan Kudriashov: Suprematist Composition, 1923	Ewerdt Hilgemann: Kubusstruktuur, 1973

Piet Mondriaan: Lozenge with 4 lines and grey, 1926	Piet Mondriaan: Foxtrot – Lozenge composition with 3 black lines, 1929	Piet Mondriaan: Composition No. 1 – Lozenge with 4 lines, 1930
	Piet Mondriaan: Lozenge composition with 2 lines, 1931

Ellsworth Kelly: Untitled, 1951	François Morellet: 16 Carrés, 1953	Ad Dekkers: Begrensde vierkanten in vierkant, 1973
Aurélie Nemours: Rhythme du Millimètre, 1977	Aurélie Nemours, 1995

Piero Manzoni: Achrome, 1960	Herbert Zangs: Ohne Titel (Faltung)	Jan Schoonhoven: R62-13, 1962
Antoni Tápies: Blanco en Forma de Cruz, 1963	Jan Schoonhoven: R65-2, 1965	Gerhard Richter: Schattenbild, 1968
Gottfried Honegger: Paris, 1969	Jan Schoonhoven: R70-74, 1970	Jan Schoonhoven: R70-9, 1970
Ewerdt Hilgemann: Lichtrelief	Antoni Tápies: Relieve blanco con dibujas y letras, 1974	Jan Schoonhoven: Relief in Wit, 1975

Donald Judd: Untitled, 1961	Agnes Martin: Praise, 1972
Agnes Martin: On a Clear Day, 1973	Gene Davis: Untitled, 1983


François Morellet: Sphère Trame, 1962	Sol LeWitt: Open Modular Cube	Sol Lewitt: Open Modular Cube, 1966


Jean-Pierre Raynaud: La Maison, 1969	Giuseppe Penone: Respirare l'Ombre, 1999

J.C.J. van der Heijden: Blue Violet, 1978	Margarete Dreher: Rasterbild Blau/Gelb, 1985/1986	Margarete Dreher: 12 Felder Weiss, 1986

Oswald Oberhuber: Ohne Titel, 1986	Gunther Förg: Ohne Titel, 1994	Bernard Frize: Normale, 1998
Gunther Förg: Standomi 94, 2000	Gunther Förg: Ohne Titel, 2004

Jean-Pierre Raynaud: Espace Zéro, 1987	Margarete Dreher: Permanentschwarz, 1991


Dan Flavin: Untitled, 1987	François Morellet

Distorted grids

Christoph Brachmann and Romana Walter: "Rastersturz. Interaktive Auseinandersetzung mit einer Grafik von Georg Nees." In: Lutz Dickmann, Lars Fehr, Susanne Grabowski, Philipp Kehl, Frieder Nake, Romana Walter (eds.): Der Bericht zum Projekt macS. (Mediating Art in Computational Spaces.) Universität Bremen Medieninformatik (B.Sc.) January 2004.

Jochem van der Spek No Noise 2001

Bit-101 Laboratory: 01 sep 01; 01 oct 23/29; 01 nov 04/06-08; 01 dec 24; 02 jan 30/31; 02 oct 04; 02 mar 02/12; 02 may 11; 02 sep 12/13.

Projected grids

Michael McDonough: Grid House, Boston, MA, 1978.

To add:

François Morellet:

"2 trames 0°, 90°", 1971.
"2 doubles trames 30°, 60°", 1971.
"1 double trames 0°", 1973.

François Morellet: Exhibition Catalogue Nationalgalerie Berlin, 1977, pp. 138-144.

Also: Man Ray photos?

To add:

Ellsworth Kelly: White Panels on Green (1950), Bathroom Tiles (1951), Two Yellows (1952), Red and White (1952), White and Black (1952)

[Yve-Alain Bois: Ellsworth Kelly: The Early Drawings, 1948-1955. Cambridge, Mass.: Harvard University Art Museums, 1999, # 37, 117-121.]

"You know, what I wanted was really abstract. Can't be about nature, or this world. (Pause.) We have a lot of really abstract emotions not caused by anything in this world. You can wake up in the morning and you are happy. Extraordinarily happy with no traceable cause. That's an abstract experience. There's a whole range of delicate emotions that nobody pays any attention to. I hope when people look at my paintings – and they're just horizontal lines – but they do respond to my work. Even though it's so simple, they respond emotionally. And they see that it's happy. And there's a very delicate emotion called tranquility. When you stop, and you rest, and come to an absolute stop. And that's when tranquility takes over."

Agnes Martin. Interview by Tom Collins: AGNES MARTIN REFLECTS ON ART & LIFE. Geronimo 2, 1 (January 1999)