Artwork Image
Photo:
Controls
Blips and Ifs
Object Details
-
Date
1963-1964
-
Object Type
Paintings
-
Medium
Oil on canvas
-
Dimensions
71 1/8 x 53 1/8 in.
-
Inscriptions
Recto:
signed u.c.: Stuart Davis
Verso:
u.c. on stetcher: GAL-A
c. stretcher: BLIPS & IFS STUART DAVIS 1963-64
-
Credit Line
Amon Carter Museum of American Art, Fort Worth, Texas, In memory of John de Menil, Trustee, Amon Carter Museum of American Art, 1961-1969
-
Accession Number
1967.195
-
Copyright
Public domain
Object Description
The largest of six Davis paintings in the Carter’s collection, Blips and Ifs marks the culmination of the artist’s long, productive, and highly inventive career. Completed shortly before his death, the picture offers a vibrant interplay of colors and letters in which fragments of words suggest an artistic dialogue with the visual language of commercial advertising.
In addition to consumer culture, Davis had a longstanding interest in aviation, and the work’s title likely refers to radar technologies. “Blips” is shorthand for the nebulous forms that flash on a radar screen, while “ifs” could be Davis’s own abbreviation of “indeterminate frequencies”—the time between blips. The title thus invites a range of related associations, such as the creative search for meaningful forms in art, the rhythmic beats of radar sweeps, or, ominously, the mounting paranoia of the Cold War.
—Text taken from the Carter Handbook (2023)
Additional details
Location: On view
See more by Stuart Davis
Tags
Video:
Video:
Video:
-
What roles can text play in works of art?
In what ways has music influenced, and been influenced by, art?
How might abstraction offer an advantage to an artist in capturing the essence of a place or scene?
-
Grades Pre-K–3
Ask students to think of a place that is special to them. How might they depict this place in an abstract style? What elements of this place are most important? What shapes, lines, and colors make up this place? Students will make a sketch of the composition using any drawing implement. Geometric stickers or felt shapes are also helpful in giving students a place to begin.
Grades 4–12
Ask students to think about the city, town, or community they call home. What shapes, colors, or words might they use in an artwork to represent it? The students will draw a representation of this place using shapes, colors, and/or words in the style of Stuart Davis. Older students can make the project more complex through the incorporation of musical elements.
Share Educator Resources
Amon Carter Disclaimer
This information is published from the Carter's collection database. Updates and additions based on research and imaging activities are ongoing. The images, titles, and inscriptions are products of their time and are presented here as documentation, not as a reflection of the Carter’s values. If you have corrections or additional information about this object please email us to help us improve our records.
Every effort has been made to accurately determine the rights status of works and their images. Please email us if you have further information on the rights status of a work contrary or in addition to the information in our records.
Related Works
-
Ranchos Church, New Mexico, 1930-1931
Georgia O'Keeffe
Oil on canvas
1971.16 -
The Buffalo Hunt [No. 39], 1919
Charles M. Russell
Oil on canvas
1961.146 -
Self-Portrait, 1919
Stuart Davis
Oil on canvas
1975.29 -
Untitled (Pittsburgh Housing), 1930s
Manuel de Aumente
Gelatin silver print
P2009.11 -
Untitled, 1970
Luchita Hurtado
Lithograph
1970.86 -
Egg Beater No. 2, 1928
Stuart Davis
Oil on canvas
1996.9 -
Sunrise, Yosemite Valley, ca. 1870
Albert Bierstadt
Oil on canvas
1966.1 -
A Closet Door, 1904-1906
John Frederick Peto
Oil on canvas
1983.158 -
Untitled #52, 2002
Laura Letinsky
Dye coupler print
P2007.3