the protagonists are. For the young
man is the painter, Cy Twombly, the
photographer, his friend, the artist,
Robert Rauschenberg, who, like
Twombly, at times has painted with
his hands.
Tina Modotti, Hands of a
Marionette, 1929.
Christopher Hyland,
Timothy's Arm, 2005.
The photograph emblematizes
Buhl's whole collection, in which the
hands most frequently represented
belong to artists. Rauschenberg's
portrait is a parable of making, the aha!
of the enormous hand symbolizing
the moment of artistic inspiration,
inspiration made manifest by the
comparatively small sketchbook
Twombly holds in his right hand,
an understated augury of the large
abstract canvases the artist had
already embarked upon and which
were to make him famous. The
sketchbook is the punctum of this
photograph.
Buhl's collection includes an
enigmatic
photograph
by
Christopher Hyland of a male
forearm outstretched, the hand
grasping the wooden post of a
barbed wire fence, as if wielding a
HYLAND
