Edward Krasinski (1925–2004) was one of the most important artists of the European post-war avant-garde. He sought to reduce sculpture to a mere line, epitomized by his use of blue adhesive tape, which he placed at a height of 130 centimeters across his installation works. “I encompass everything with it and go everywhere,” he once explained. “This is art, or is it?” The blue tape extends across walls and objects in his Warsaw studio, which has been preserved as he left it. When I first visited the studio—in an apartment on the top floor of an ordinary block of flats from the communist era—I found myself surprised and confused. Years later, curating Krasinski’s retrospective at Tate Modern and then the Stedelijk, I wanted visitors to feel the same while discovering his complex, yet delightfully playful practice. The interior is full of little This story is from Kinfolk Issue Forty-Three Buy Now Related Stories Arts & Culture Issue 49 Karin Mamma Andersson Inside the moody, mysterious world of Sweden’s preeminent painter. Arts & Culture Issue 49 Amalie Smith The Danish arts writer finding clarity between the lines. Arts & Culture Issue 49 Studio Visit: Heidi Gustafson A cabin in the Cascade Mountains houses a hermetic artist—and her extraordinary world of natural pigments. Arts & Culture Issue 48 Jordan Casteel The acclaimed painter of people—and now plants. Arts & Culture Issue 48 The Art of Fashion On what artists’ clothes communicate. Arts & Culture Issue 48 Peer Review Artist William Cobbing on painter, publisher—and family friend—Franciszka Themerson.
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Arts & Culture Issue 49 Studio Visit: Heidi Gustafson A cabin in the Cascade Mountains houses a hermetic artist—and her extraordinary world of natural pigments.
Arts & Culture Issue 48 Peer Review Artist William Cobbing on painter, publisher—and family friend—Franciszka Themerson.
