Andrew Wasserman
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onceatrophic.bsky.social
Andrew Wasserman
@onceatrophic.bsky.social
1.1K followers 400 following 850 posts
Art Historian. Etc.

The World Atlas of Public Art (Yale University Press, 2024) now available: https://yalebooks.yale.edu/book/9780300272581/the-world-atlas-of-public-art/
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onceatrophic.bsky.social
Ok let’s actually work on this chapter for real now
Black and white photograph of the 1982 version of the Shadow Project. I will finish this chapter before the end of the year bc someone will publish this book even if they don’t know that yet
November 14, 2025 at 7:43 PM
onceatrophic.bsky.social
CAA has now publicly announced this year’s shortlist. There were so many great books this year!
List of the 5 finalists for one of this year’s CAA book prizes. Inexplicably I continue to sit on this jury, but that also means I’ve read all of them so you can believe me when I say they are all great books!
November 13, 2025 at 9:15 PM
onceatrophic.bsky.social
Oh no. OH NO.
OHHHHHHH NOOOOOOO
November 10, 2025 at 12:50 PM
onceatrophic.bsky.social
Shaping up to be another easy, straightforward process of securing image rights/files (the image is a photograph that ran in a regional newspaper in the mid 1960s)
October 30, 2025 at 7:27 PM
onceatrophic.bsky.social
💀💀💀
Screenshot of an email autoreply for an image request stating *Due to current backlogs, requests may take up to ten weeks to fulfill.*
October 30, 2025 at 3:40 PM
onceatrophic.bsky.social
Maybe now some editor will want my book…
Push notification about 💥🍄☁️
October 30, 2025 at 2:16 AM
onceatrophic.bsky.social
I know, girl. I know.
Louise Bourgeois, The Couple (2007-2009), Cast and polished aluminum Louise Bourgeois, The Couple (2007-2009), Cast and polished aluminum Louise Bourgeois, The Couple (2007-2009), Cast and polished aluminum
October 25, 2025 at 4:20 PM
onceatrophic.bsky.social
The MFAH also installed this very cute in comparison Gilliam just around the corner
Sam Gilliam, Arc III, 1970, Acrylic on unstretched canvas From the museum label: ‘Sam Gilliam pushed American art in a radical new direction when he removed the canvas from the stretcher, allowing it to drape in loose folds on the wall. While acknowledging his debt to Hans Hofmann in his treatment of radiant color that washed across his paintings, Gilliam explained further, "What was most personal to me were the things I saw in my own environment-such as clotheslines filled with clothes." Two years after Arc II was completed, Gilliam was among the artists representing the United States at the Venice Biennale, the first African American to receive this important recognition.’
October 25, 2025 at 3:09 PM
onceatrophic.bsky.social
Phenomenal
Painting but also the reverse of painting but also also still painting
October 25, 2025 at 2:19 PM
onceatrophic.bsky.social
PAINTING
Painting But really PAINTING I mean look at this painting Like… just… PAINTING
October 25, 2025 at 2:18 PM
onceatrophic.bsky.social
Sam Gilliam’s Double Merge (Carousel I and Carousel II) at the MFA Houston
Sam Gilliam, Double Merge (Carousel I and Carousel II) (1968), Acrylic on canvas From the museum label: ‘Sam Gilliam brought a radical freedom to his unstretched drape paintings, liberating his canvases from the frame and the wall. Double Merge brings together two complementary elements: one canvas is more loosely rendered, with uninterrupted watery swaths of purples, yellows, pinks, blues, and greens, while the other has a more staccato effect with drips, stains, and brushstrokes scattered across its generous expanse. Gilliam later recalled, "The year 1968 was one of revelation and determination— something was in the air, and it was in that spirit that I did the drape paintings."’ approaching Carousel I and Carousel II A v good gap
October 25, 2025 at 2:16 PM
onceatrophic.bsky.social
I know, girl. I know.
Attributed to Gertrude Käsebier, [title provided by museum: Man in Tutu] (c. 1898), Platinum print with ink or watercolor From the museum label: ‘This picture is also simply a delight-a reminder that even serious photographers sometimes just had fun.’
October 24, 2025 at 10:44 PM
onceatrophic.bsky.social
Too real, girl. Too real.
Bluesky moderation warning label
October 24, 2025 at 10:25 PM
onceatrophic.bsky.social
I know, girl. I know.
Edward Hopper, Girlie Show (1941), Oil on canvas The museum label: ‘Edward Hopper was captivated by movie palaces, vaudeville houses, and burlesque shows, and he frequented the Republic Theater, home to Minsky's Burlesque, to sketch its performers. However, Girlie Show was painted three years after burlesque was banned by New York's city commissioner. Paying tribute to a dying form of popular entertainment [!], Hopper brought a knowing eye to the scene [!!], and it's the musician's bored gaze, as much as the flamboyance of the striptease artist (modeled by Hopper's wife Jo [!!!]), that captures the bawdy mood of Minsky's.’
October 24, 2025 at 10:23 PM
onceatrophic.bsky.social
Harry Bertoia’s Untitled (Broccoli) (c. 1965), patinated bronze
🥦
October 24, 2025 at 9:01 PM
onceatrophic.bsky.social
It truly is a perfect sculpture
Barnett Newman’s Broken Obleisk in front of the Rothko Chapel Still broken Obelisk: broken Plaque embedded into the pavers around the reflecting pool
October 24, 2025 at 12:01 AM
onceatrophic.bsky.social
SOM X 3
Downtown Houston skyline
October 23, 2025 at 10:37 PM
onceatrophic.bsky.social
I know, girl. I know.
Henri Matisse, Red Mullet (Le rouget), 1920, Oil on canvas mounted on wood 🥺
October 23, 2025 at 7:05 PM
onceatrophic.bsky.social
A perfect sign
A pathway through private oil money manicured lawns with a branch hanging over the path with a sign in the middle that also supports the underside of the branch LOW BRANCH
October 23, 2025 at 6:46 PM
onceatrophic.bsky.social
Joyce Cutler-Shaw’s Messages from the World (1982)
Blocks of ice shaped into letters spelling out the word SURVIVAL
October 16, 2025 at 12:15 AM
onceatrophic.bsky.social
Theresa Bernstein, Portrait of Loie Fuller (ca. 1925), oil on canvas

Also: GOOD FRAME
From the object label: ‘Loie Fuller was a revolutionary figure in modern dance—a performer who transformed the stage with swirling silks, dramatic lighting, and bold individuality. A symbol of creativity and independence, Fuller captivated audiences in Europe and America during the early 20th century. Theresa Bernstein, known for scenes of city life, often highlighted women shaping modern America. This painting connects two pioneers- one who transformed dance and another who claimed her place in the male-dominated art world.’
October 6, 2025 at 2:07 PM
onceatrophic.bsky.social
10/10 museum education display
Her eyes really do follow you around the room/s.
October 5, 2025 at 7:02 PM
onceatrophic.bsky.social
Guys. GUYS.
Modern! Photography which came before modern! More modern! The end of art!
October 5, 2025 at 7:00 PM
onceatrophic.bsky.social
The Huntsville Museum of Art’s “A Walk Through Time” is a wild ride (complimentary, I think…?)
‘Why do you think it was important to paint animals?’ The two genders There she is. And by she, I mean the font. My only criticism is taller ceilings are needed
October 5, 2025 at 6:57 PM
onceatrophic.bsky.social
I know, girl. I know.
Katherine Dreier, Cruel Prying, 1932, Oil on canvas From the object label: ‘In this painting, Dreier used flowing shapes and symbols to explore the connection between the physical world and the unseen, spiritual one. The floating "inner eye" shape in the center appears in many of her later paintings and may represent vision, self-awareness, or even a figure.’
October 5, 2025 at 3:22 PM