Press Release Hard Lines - Origins and Aspects of Hard Edge Painting

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FRIEZE MASTERS - PRESS RELEASE HARD LINES - ORIGINS AND ASPECTS OF HARD EDGE PAINTING For the 2020 online edition of Frieze Masters America, he continued to teach the substance ARCHEUS/POST-MODERN, London and of what he had taught at the Bauhaus at Black SCHACKY Düsseldorf are making a joint Mountain College. presentation: Hard Lines - origins and aspects of Hard Edge painting. The presentation will focus During the 1950s, movements of geometric on the origins and development of hard edge abstraction and op art developed and artists with abstraction on both sides of the Atlantic during similar concerns formed international groups to the middle of the 20th century. further the exchange of ideas. This new wave found attention through important exhibitions in the USA: Post-Painterly Abstraction curated by Clement Greenberg at LACMA in 1964, which championed artists who rejected Abstract Expressionism’s grandiosity, The Responsive Eye at MoMA in 1965 and Systemic Painting at the Guggenheim in 1966. Through the curation of these exhibitions, which included many of the artists we propose to present, the common threads of hard-edge abstraction were pulled tight. Julije Knifer, Meander Composition A, 1960 Rather than growing as a unified international group, hard edge developed separately in Europe and the USA but held common origins. Exponents of hard edge developed the disciplines of De Stijl, holding onto Van Doesberg’s key philosophy that all but the most essential forms and colours should be excluded. This credo was revered at the Bauhaus by teachers and pupils alike and the roots of hard edge painting, whereby abrupt transitions in colour or tone became the conceptual structure, took hold. When Josef Albers fled Germany for Josef Albers, Homage to the Square, 1959 Thomas Downing, Swap Series #9 (Triptych), 1967 INCLUDED ARTISTS Josef Albers | Max Bill | Theo van Doesberg | Thomas Downing | Günther Fruhtrunk Wassily Kandinsky | Ellsworth Kelly | Julije Knifer | Imi Knoebel Verena Loewensberg | Agnes Martin | Howard Mehring | François Morellet Kenneth Noland | Bridget Riley | Richard Serra | Victor Vasarely ARCHEUS / POST-MODERN Brian Balfour-Oatts [email protected] +44 (0)7979 695079 www.archeus.com Schacky Art & Advisory Daniel von Schacky [email protected] +49 211 1580 4900 www.schacky-art.com Bridget Riley, Right Angle Curves Study No.4, 1966.

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THE WASHINGTON COLOR SCHOOL on View September 9, 2021 – October 23, 2021
For Immediate Release EDWARD TYLER NAHEM PRESENTS PRIMACY: THE WASHINGTON COLOR SCHOOL On View September 9, 2021 – October 23, 2021 Opening Reception: Thursday September 9, 2021 (6:00pm– 8:00pm) (New York) – August 23, 2021 – Edward Tyler Nahem Fine Art (ETNFA) is pleased to present Primacy: The Washington Color School, an exhibition curated by Dexter Wimberly of paintings by nine eminent Washington Color School artists: Cynthia Bickley-Green, Gene Davis, Sam Francis, Sam Gilliam, Morris Louis, Howard Mehring, Kenneth Noland, Alma Thomas, and Kenneth V. Young. The origin of the Washington Color School is linked to a 1965 exhibition titled The Washington Color Painters, organized by Gerald Norland at the Washington Gallery of Modern Art in Washington D.C. Five of the six artists in the original 1965 Washington Color Painters exhibition are included in Primacy. Artists of the Washington Color School are distinguished by their rejection of gesture in favor of flat, hard-edged planes of color, as seen in Gene Davis’s adroitly executed Red Dog (ca. 1961) and Morris Louis’s Number 19 (1962), two works in the exhibition that create optical effects and showcase the transcendent potential of painting. Hung next to Howard Mehring’s Blue Note (1964) and Kenneth Noland’s Untitled (1965), these deceptively simple compositions radiate dynamism and tension. In the vanguard of experimentation, the Washington Color School artists pushed boundaries with techniques and processes that would lead them to form individual but related styles, all of which emerged in reaction to Abstract Expressionism. This point of origin is clearly seen in the earliest work in the exhibition, Study for Moby Dick (1958) by Sam Francis, an artist associated with both the Abstract Expressionist movement and Post-Painterly Abstraction.
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Bright Futures
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