ニューヨーク・タイムズのインスタグラム(nytimes) - 2月12日 00時36分

Before his death 2 years ago, the artist Ellsworth Kelly, whose career was defined by stripping painting and sculpture down to their elemental components of form and color, made designs for what appears from the outside to be a simple double-barrel-vaulted building alluding to religious #architecture. Inside, he’d planned for a number of revelations. Colored-glass windows would bend the light in different ways. On the walls was his take on the stations of the cross. And in the rear of this single-room structure, where one would expect to find the crucifix in a Christian church, would be one of Kelly’s totem sculptures. The project eventually fell through. But in an unlikely end to this story, the artist’s building has now been constructed on the grounds of the @blantonmuseum, in Austin, Texas, almost exactly as he had envisioned it 30 years ago. The work, “Austin,” which opens to the public this month, is the culmination of his oeuvre — “not just a summation of his work’s themes but his masterpiece, the grandest exploration of pure color and form in a 7-decade career spent testing the boundaries of both,” @tmagazine writes. Visit the link in our profile to read more about #EllsworthKelly’s monumental installation, and to see more photos by @victoriasambunaris.

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