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Artworks

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Being Necessitates Faith in Paper
Jessica Diamond
Latex wall paint, slide permanently on acetate paper · 1989
Museum of Modern Art
Passion
Passion
Keiko Kobayashi
Cotton, acrylic, and viscose-rayon and acrylic, areas of plain weaves and twill weaves with viscose-rayon, cellulose acetate, and viscose-rayon on cellulose film(?) supplementary patterning wefts; woven on a loom with a jacquard attachment · 1988
Art Institute of Chicago
Garbage Drawing #14
Garbage Drawing #14
Mike Kelley
Polyvinyl acetate and co-polymer paint on paper · 1988
Museum of Modern Art
Sensible Ellipse of Lost Origin
Sensible Ellipse of Lost Origin
Avis Newman
Acrylic paint, cotton gauze and polyvinyl acetate resin on canvas · 1985
Tate
Le Désert ...
Le Désert ...
Marc Camille Chaimowicz
Photographs, silkscreen, photocopies, acetate and typescript on papers mounted on 13 cards · 1981
Tate
"Strips" Quilt
"Strips" Quilt
Gearldine Westbrook
Pieced cotton, wool, polyester, silk, nylon, rayon, acrylic, and cellulose acetate, plain weaves, plain weave derived float weaves, plain weave with supplementary pile warps forming cut voided pile, plain weave with supplementary patterning wefts; twill weaves, twill weave with self-patterning ground weft floats; machine single and double knits and machine knot with supplementary cut pile; some printed; pieced; edged with cotton, plain weave, printed; backed with polyester, plain weave; printed · 1980
Art Institute of Chicago
"Celebrity Ties" Quilt
"Celebrity Ties" Quilt
Grace C. Wagner
Silk, cotton, linen, wool, polyester, rayon, nylon, cellulose acetate, metal foil laminated in polyester film, and metallized polyester film wrapped rayon, plain, twill, satin, gauze and float weaves, some damask weave, some with complementary warps and/or wefts, some with secondary binding warps, some with supplementary patterning warps or wefts, some double cloth, with some supplementary pile warps forming cut solid velvet, some self-patterned by weave variations or warp or weft floats, some screen printed; oblique interlacing and cords of oblique wrapping; machine knitting; machine embroidering stitches; machine lace; pieced and appliquéd; embroidered with cotton, silk, and polyester in buttonhole, detached chain, fly, herringbone, stem and tent stitches; applied plastic stars and mother-of-pearl flowers; edged and backed with polyester, machine knitting; screen printed · 1980
Art Institute of Chicago
Nazi Milk Glass
Nazi Milk Glass
General Idea
Multiple of offset lithograph mounted on glass in embossed acetate presentation cylinder with gold hot-stamping · 1980
Museum of Modern Art
Moon Rise
Moon Rise
Jana Vander Lee
Silk, mohair, acetate, linen, polyester, plain weave with supplementary binding warps tying supplementary patterning and brocading wefts in plain interlacing · 1979
Art Institute of Chicago
S
Screwdrivers
Hans Himbert
Cellulosa acetate and nickle-plated steel · 1978
Museum of Modern Art
Clouds II (Sample) (Furnishing Fabric)
Clouds II (Sample) (Furnishing Fabric)
Ben Rose
Cellulose acetate and biconstituent vinal-vinyon, weft-float faced twill weave; screen printed; right selvage present · 1976
Art Institute of Chicago
Clouds I (Sample) (Furnishing Fabric)
Clouds I (Sample) (Furnishing Fabric)
Ben Rose
Cellulose acetate and biconstituent vinal-vinyon, weft-float faced twill weave; screen printed; right selvage present · 1976
Art Institute of Chicago
Makeup Dpt. from the portfolio Artists & Photographs
Makeup Dpt. from the portfolio Artists & Photographs
Edward Ruscha
Dye-transfer print on acetate · 1975
Museum of Modern Art
C
Center for Applied Computer Research, Las Promesas, Mexico (Section)
Emilio Ambasz
Ink and photostat on acetate · 1975
Museum of Modern Art
Center for Applied Computer Research, Las Promesas, Mexico (Site plan)
Center for Applied Computer Research, Las Promesas, Mexico (Site plan)
Emilio Ambasz
Ink and photostat on acetate · 1975
Museum of Modern Art
Center for Applied Computer Research, Las Promesas, Mexico (Elevation)
Center for Applied Computer Research, Las Promesas, Mexico (Elevation)
Emilio Ambasz
Ink, felt-tipped pen, and photostat on acetate · 1975
Museum of Modern Art
Center for Applied Computer Research, Las Promesas, Mexico (Axonometric)
Center for Applied Computer Research, Las Promesas, Mexico (Axonometric)
Emilio Ambasz
Ink, felt-tipped pen, and photostat on acetate · 1975
Museum of Modern Art
Hanging (Prototype)
Hanging (Prototype)
Robert D. Sailors
Cotton, rayon, wool, nylon, and silk; wool, rayon, cotton, and acetate bouclé; and rayon and cotton chenille; plain weave open work · 1974
Art Institute of Chicago
We Got Nuthun to Hyde! Unique Art Auction at 8/Special Fund Razor
We Got Nuthun to Hyde! Unique Art Auction at 8/Special Fund Razor
Karl Wirsum
Screenprint in red on acetate, stapled to offset lithograph in black on white wove paper · 1974
Art Institute of Chicago
Epauleptic Fit
Epauleptic Fit
Karl Wirsum
Acrylic on acetate · 1974
Art Institute of Chicago
Untitled
Untitled
Carlos Zilio
Polyvinyl acetate paint on canvas · 1974
Museum of Modern Art
U
Untitled
David Trowbridge
Airbrushed pigment, bronze powder, and resin on acetate · 1974
Museum of Modern Art
U
Untitled
David Trowbridge
Airbrushed pigment, and resin on acetate · 1974
Museum of Modern Art
I Need Yellow
I Need Yellow
Helen Frankenthaler
Color lithograph from three stones on three sheets of acetate, taped together, with notations in crayon and graphite on white card · 1973
Art Institute of Chicago