The Castello Di Rivoli Museum of Contemporary Art Is Proud to Present the Largest Retrospective to Date of the American Artist John Mccracken (B

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The Castello di Rivoli Museum of Contemporary Art is proud to present the largest retrospective to date of the American artist John McCracken (b. 1934, Berkeley, California. Lives and works in Santa Fe, New Mexico). Among the leading historic exponents of the American Minimalism, together with Donald Judd, Carl Andre, Dan Flavin, and other, John McCracken views art as a means of aesthetic and spiritual emancipation and his works are as prototypes for a world to come, one dominated by pure thought and an absolute form of beauty. Convinced that art can give form to a hidden dimension of matter and the universe, reawakening consciousness and enriching our live, McCracken, through the uniqueness of his artistic vision, reveals the true complexity of what we generically call “Minimalism”. John McCracken became famous for what he refers to as “blocks, slabs, columns, planks. Basic beautiful forms, neutral forms.” The starting point for his “neutral form” is a minimalist object or primary structure, such as a cube or a board. Built out of plywood, and subsequently covered with fiberglass and polyester resin imbued with a vivid color, the neutral form transforms into an object that brilliantly combines the anti-illusionism of Minimalism, the colorful effects of car culture, and the idea of an immaterial mental space. Known primarily for these sculptures, McCracken has only recently received attention for his 1970s Mandala paintings, which has led to a new valorization of his oeuvre. (This document was automatically generated by Contemporary Art Library.).

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PAJ78 C-04 Ho
DAN FLAVIN’S CORNER SQUARE Before and after the Mast Christopher K. Ho o begin with an omission: that of Dan Flavin’s comments to Bruce Glaser during a 1964 radio interview entitled “New Nihilism or New Art?” A T participant along with Frank Stella and Donald Judd, Flavin rarely inter- vened, later requesting that even these infrequent comments be excised from the published manuscript.1 Usually seen as an act of deference to his polemical and more articulate peers,2 might this recusal alternatively be read as a determined refusal of the reductivist rendition of modernism proffered if not in practice than in theory by Stella and Judd? Certainly, the shifts Flavin undergoes from the earliest light pieces (produced one year before the Glaser interview) to his later, trademark 1974 corner pieces, testify to this; further, it would appear that Flavin’s proposed alternative circles around, precisely, the notion of omission. I If the notion of omission was always lodged within the narrative of modernism in the form of a kind of ever-receding horizon, the impossible situation that art found itself in the 60s was that this horizon was arrived at in the guise of the monochrome and blank canvas. By 1962, Clement Greenberg declared, “a stretched or tacked-up canvas already exists as a picture—though not necessarily as a successful one.”3 This shift in strategy—from positing art as an internally motivated formal progression towards ﬂatness to a far more idiosyncratic assessment of success or failure—not only bespeaks a breach, perhaps irreparable,
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