Stephen Antonakos (1926-2013)

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Stephen Antonakos (1926-2013) Antonakos’s work with neon since 1960 has lent the medium new perceptual and formal meanings in hundreds of gallery and museum exhibitions first in New York and then internationally. His use of spare, complete and incomplete geometric neon forms has ranged from direct 3D indoor installations to painted Neon Canvases, Walls, the well known back-lit Neon Panels with painted or gold surfaces, his Rooms, and Chapels. Starting in the 1970s he installed over 55 architecturally- scaled permanent Public Works in the USA, Europe, Israel, and Japan. Throughout, he conceived work in relation to its site — its scale, proportions, and character — and to the space that it shares with the viewer. He called his art, “real things in real spaces, in the here and now” intending it to be seen without reference to anything outside the immediate visual and kinetic experience. Colored pencil drawings on paper and vellum, often in series, have been a major, rich practice since the 1950s; as has his extensive work with collage. Other major practices include the conceptual Packages, small-edition Artist’s Books, silver and white Reliefs, prints, and — since 2011 — several series of framed, 3-D Gold Works. Antonakos was born in the small Greek village of Agios Nikolaos in 1926 and moved to New York with his family in 1930. In the late 1940s, after returning from the US Army, he established his first studio in New York’s fur district. From the early 1960s forward, until the end in 2013, he worked in studios in Soho. Stephen Antonakos’ is included in major museum collections such as The Brooklyn Museum of Art, Dallas Museum of Art, Texas, Solomon R. Guggenheim Museum, New York, Hamburger Bahnhof, Berlin, Germany, Los Angeles County Museum of Art, CA, The Metropolitan Museum of Art, New York, The Museum of Modern Art, New York, National Gallery of Art, Washington D.C., Neuberger Museum of Art, State University of New York, Purchase, NY, Philadelphia Museum of Art, Weatherspoon Art Gallery, University of North Carolina, Greensboro, and Whitney Museum of American Art, New York. .

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NGA | 2017 Annual Report
N A TIO NAL G ALL E R Y O F A R T 2017 ANNUAL REPORT ART & EDUCATION W. Russell G. Byers Jr. Board of Trustees COMMITTEE Buffy Cafritz (as of September 30, 2017) Frederick W. Beinecke Calvin Cafritz Chairman Leo A. Daly III Earl A. Powell III Louisa Duemling Mitchell P. Rales Aaron Fleischman Sharon P. Rockefeller Juliet C. Folger David M. Rubenstein Marina Kellen French Andrew M. Saul Whitney Ganz Sarah M. Gewirz FINANCE COMMITTEE Lenore Greenberg Mitchell P. Rales Rose Ellen Greene Chairman Andrew S. Gundlach Steven T. Mnuchin Secretary of the Treasury Jane M. Hamilton Richard C. Hedreen Frederick W. Beinecke Sharon P. Rockefeller Frederick W. Beinecke Sharon P. Rockefeller Helen Lee Henderson Chairman President David M. Rubenstein Kasper Andrew M. Saul Mark J. Kington Kyle J. Krause David W. Laughlin AUDIT COMMITTEE Reid V. MacDonald Andrew M. Saul Chairman Jacqueline B. Mars Frederick W. Beinecke Robert B. Menschel Mitchell P. Rales Constance J. Milstein Sharon P. Rockefeller John G. Pappajohn Sally Engelhard Pingree David M. Rubenstein Mitchell P. Rales David M. Rubenstein Tony Podesta William A. Prezant TRUSTEES EMERITI Diana C. Prince Julian Ganz, Jr. Robert M. Rosenthal Alexander M. Laughlin Hilary Geary Ross David O. Maxwell Roger W. Sant Victoria P. Sant B. Francis Saul II John Wilmerding Thomas A. Saunders III Fern M. Schad EXECUTIVE OFFICERS Leonard L. Silverstein Frederick W. Beinecke Albert H. Small President Andrew M. Saul John G. Roberts Jr. Michelle Smith Chief Justice of the Earl A. Powell III United States Director Benjamin F. Stapleton III Franklin Kelly Luther M.
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Minimal Art 1965 - 1999 L’ARENGARIO STUDIO BIBLIOGRAFICO Via Pratolungo 192 - 25064 Gussago BS - Italia
minimal art 1965 - 1999 L’ARENGARIO STUDIO BIBLIOGRAFICO Via Pratolungo 192 - 25064 Gussago BS - Italia tel. ++39 030 25 22 472 - fax ++39 030 25 22 458 mail: [email protected] - web: www.arengario.it Facebook - Instagram @arengariostudiobibliografico A.L.A.I. Associazione Librai Antiquari d’Italia I.L.A.B. International League Antiquarian Booksellers (immagine in copertina) n. 48. On Kawara, Arbeitsplatz des Künstlers, Stockholm 1973, Köln, Gebr. König, s.d. [1973] minimal art 1965 - 1999 ARTISTS Donald Judd Imi Knoebel Carl Andre Robert Mangold Steven Antonakos Brice Marden Richard Artschwager Agnes Martin Carel Balth Tony Morgan Larry Bell Wolfgang Nester Ronald Bladen Barnett Newman Robert Breer Blinky Palermo Alan Chrlton David Rabinwitch Walter De Maria Ad Reinhardt Dan Flavin Peter Roehr Robert Grasvenor Ulrich Rückriem Eva Hesse Reiner Ruthenbeck Jene Highstein Robert Ryman Robert Huot Fred Sandback Will Insley Richard Serra Robert Irwin Richard Smith Paul Isenrath Tony Smith Alan Johnston William Tucker Peter Joseph Richard Van Buren 1. AA.VV., Minimal Art, Düsseldorf, Stadtische Kunsthalle Düsseldorf, 1969, 20x50 cm, foglio d’invito ripiegato a leporello in cinque parti con 2 immagini fotografiche in bianco e nero e 1 composizione geometrica in nero stampata su entrambe le faccia- te, due brevi testi trascritti in tedesco. Invito edito in occasione della mostra (Düss- eldorf, Städtische Kunsthalle, dal 17 gennaio al 23 febbraio 1969). € 70 2. AA.VV., Minimal Art. Andre-Bladen-Flavin-Grosvenor-Judd-LeWitt-Morris-Smi- th-Smithson-Steiner, Berlin, Akademie der Künste, 1969, 19,8x19,8 cm., brossura, pp. 64, copertina illustrata a colori, 1 immagine fotografica a colori e 22 in bianco e nero nel testo conopere di Carl Andre, Ronald Bladen, Dan Flavin, Robert Grosve- nor, Donald Judd, Sol Lewitt, Robert Morris, Tony Smith, Robert Smithson, Michael Steine.
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FRED SANDBACK Born 1943 in Bronxville, New York
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FOR IMMEDIATE RELEASE Stephen Antonakos
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Houston Conwill(B. 1947, United States) Arc, 1986
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STEPHEN ANTONAKOS Laconia, Greece 1926 — New York 2013
STEPHEN ANTONAKOS Laconia, Greece 1926 — New York 2013 Antonakos’s work with neon since 1960 has lent the medium new perceptual and formal meanings in hundreds of gallery and museum exhibitions first in New York and then internationally. His use of spare, complete and incomplete geometric neon forms has ranged from direct 3-D indoor installations to painted Canvases, Walls, the well known back- lit Panels with painted or gold surfaces, his Rooms and Chapels. Starting in the 1970s he installed over 55 architecturally-scaled permanent Public Works in the USA, Europe, Israel, and Japan. Throughout, he conceived work in relation to its site — its scale, proportions, and character — and to the space that it shares with the viewer. He called his art, “real things in real spaces,” intending it to be seen without reference to anything outside the immediate visual and kinetic experience. Colored pencil drawings on paper and vellum, often in series, have been a major, rich practice since the 1950s; as has his extensive work with collage. Other major practices include the conceptual Packages, small-edition Artist’s Books, silver and white Reliefs, prints, and — since 2011 — several series of framed and 3-D Gold Works. Antonakos was born in the small Greek village of Agios Nikolaos in 1926 and moved to New York with his family in 1930. In the late 1940s, after returning from the US Army, he established his first studio in New York’s fur district. From the early 1960s forward, until the end in 2013, he worked in studios in Soho. EXHIBITIONS 2018 to 2019 “Antonakos: The Room Chapel” Curated by Elaine Mehelakes — Allentown Art Museum, Allentown, PA, May 6, 2018 - May 5, 2019 2018 “Antonakos: Proscenium” Curated by Helaine Posner — Neuberger Museum of Art, SUNY Purchase, NY, Jan.
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Wadsworth Atheneum Acquires Antonakos Neon Canvas
FOR IMMEDIATE RELEASE Media Contact: Kim Hugo, (860) 838-4082 [email protected] Image files to accompany publicity of this announcement will be available for download at http://press.thewadsworth.org. Email to request login credentials. Wadsworth Atheneum Acquires Antonakos Neon Canvas Hartford, Conn. (May 23, 2019)—Stephen Antonakos’s Untitled Neon Canvas (for Michael Krichman), 1986, has been acquired by the Wadsworth Atheneum Museum of Art from Stephen Antonakos Studio. This 7-foot-high abstract work is part of Antonakos’s Neon Canvas series—a group of approximately 26 untitled canvases, each parenthetically dedicated to friends. The mid-1980s series exemplifies the artist’s central practice since the early 1960s: exploring the qualities of canvas, paint, and neon in abstract, geometric compositions. Untitled Neon Canvas (for Michael Krichman) is named for the collector and long-time director of InSite, a Southern California organization that facilitates the production of public and site-specific art projects. Antonakos met Michael Krichman in California in 1984 when the artist was preparing for his Neons and Works on Paper show at MCASD La Jolla. “Antonakos is considered a light art pioneer who, over five decades, explored the many possibilities of neon as a material,” says Patricia Hickson, Emily Hall Tremaine Curator of Contemporary Art. “The Wadsworth is thrilled to add this important work to our growing collection of light-based art.” Stephen Antonakos’s Untitled Neon Canvas (for Michael Krichman) joins the Wadsworth’s holdings of contemporary neon and light art including works by Keith Sonnier, Joseph Kosuth, Sam Durant, and Spencer Finch.
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Edward F. Fry Papers Ms
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STEPHEN ANTONAKOS Neons & Drawings, 1970S
THE DRAWING ROOM 66H Newtown Lane East Hampton New York 11937 T: 631 324 5016 FOR IMMEDIATE RELEASE April 8 – May 9, 2016 STEPHEN ANTONAKOS Neons & Drawings, 1970s Inside Corner Neon February 28 – March 15 1974 On the Floor Corner Blue Square Neon, 1974, neon, 36 x 36 in graphite, colored pencil, Krylon on paper, 30 x 22 in Photograph by Alexander Marsh, New York The Drawing Room is pleased to present six iconic neon wall sculptures and ten related drawings by Stephen Antonakos (1926-2013) in the gallery’s fourth solo exhibition of the artist’s work. Renowned for his pioneering use of neon as well as a distinctive body of drawings that parallel his sculptural explorations, Antonakos’ practice expanded the language of form, materiality and the intangible in luminous abstractions that are at once rigorous and ebullient. All of the works on view date between 1973 and 1977, spanning a pivotal period in the artist’s six-decade career. Beginning in the 1960s, Antonakos recognized that neon would be his central medium, describing it once as “a controlled paradise”. He promptly developed a vocabulary of spare and luminous geometric forms that would subsequently inform his interior and exterior installations, painted canvases, back-lit panels and commissioned rooms, chapels and public works. In all of these contexts, and also in his drawings, the artist’s precise placement of radiant circular and rectilinear forms addresses the surrounding architectural environment and engages the viewer’s kinetic sense. Whether the site is a sheet of paper, a wall or a room, the physical elements within an Antonakos work are always situated to relate to each other, to the work as a whole, and to the space around them.
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STEPHEN ANTONAKOS 2 Neons and 12 Drawings January 12 – March 3, 2013
THE DRAWING ROOM 66H Newtown Lane East Hampton NY 11937 T 631.324.5016 STEPHEN ANTONAKOS 2 neons and 12 drawings January 12 – March 3, 2013 Fragment of a Circle #29, November 17, 1976 Pink Incomplete Neon Square, 1975 colored pencil on paper, 14 x 11 inches neon, 18 x 18 inches From January 12 to March 3, 2013, The Drawing Room in East Hampton is pleased to present a focused selection of works from the 1960s and 1970s by Stephen Antonakos, renowned for his groundbreaking neon installations, panels, and site-specific public works, as well as a robust body of drawings that explore parallel concerns of spatial perception. The exhibition is anchored by two signature neon wall sculptures from the mid-1970s that exemplify Antonakos’ interest in the potential of luminous geometric forms to articulate and transform human experience of architecture. Paired with these glowing three-dimensional works, two groups of drawings offer a glimpse into other facets of the artist’s keen observations on the formal relationships between geometry, architecture and the white field of the page. Throughout, Antonakos’ distinctive use of incomplete geometric forms reveals his engagement with the intersection between what we see and what we know. This exhibition highlights work from a decade in the artist’s career that was marked by his early excitement with neon as an independent sculptural element and his fervent investigation of its far-reaching possibilities. Tracing the progression of ideas from the mid-1960s through the mid-1970s, it includes a series of ‘project drawings’ that record his inventive concepts for the use of neon, as well as two restrained geometric neon works that hover on the wall, and a suite of rigorous drawings from 1976.
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Stephen Antonakos, 86, Sculptor of Neon, Dies at 86
Stephen Antonakos, 86, Sculptor of Neon, Dies at 86 By Margalit Fox Published: September 6, 2013 Eleni Mylonas, via Lori Bookstein Fine Art Stephen Antonakos, in an undated photograph with one of his works, created abstract sculptures distinguished by vibrant colors and sinuous lines. His medium was light; his materials included glass, an electrical charge and Element No. 10 on the periodic table. The result was a series of abstract sculptures that illuminated indoor and outdoor spaces in cities around the globe, instantly recognizable for their vibrant colors and sinuous lines. Stephen Antonakos, the sculptor behind those works, died on Aug. 17 at 86. Half a century ago, he became one of the first people to usher neon out of the world of HOT L and into the realm of fine art. His work, which encompasses public-art installations and pieces in the collections of the world’s foremost museums, is leagues apart from the commercial signage that until the late 20th century was neon’s fundamental expression. Mr. Antonakos used neon as a painter uses paint. Minimalist, with fluid lines and saturated colors that recall Matisse, his art has appeared in spaces as diverse as airports in Atlanta, Milwaukee and Bari, Italy; metro stations in Boston, Baltimore, Detroit and Athens; a power station in Tel Aviv; and a police station in Chicago. Two of his installations have long been familiar to New Yorkers: “Neon for 42nd Street” and “Neon for the 59th Street Marine Transfer Station.” “Neon for 42nd Street,” installed in 1981 on the outside of a building between 9th and 10th Avenues and since taken down, comprised nested arcs of red and blue.
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