GALLERY QUOTES Galleries 'We Had a Really Positive Experience at Art
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Nathaniel Mary Quinn
NATHANIEL MARY QUINN Press Pack 612 NORTH ALMONT DRIVE, LOS ANGELES, CALIFORNIA 90069 TEL 310 550 0050 FAX 310 550 0605 WWW.MBART.COM NATHANIEL MARY QUINN BORN 1977, Chicago, IL Lives and works in Brooklyn, NY EDUCATION 2002 M.F.A. New York University, New York NY 2000 B.A. Wabash College, Crawfordsville, IN SOLO EXHIBITIONS 2019 Madison Museum of Art, Madison, WI (forthcoming) 2018 The Land, Salon 94, New York, NY Soundtrack, M+B, Los Angeles, CA 2017 Nothing’s Funny, Rhona Hoffman Gallery, Chicago, IL On that Faithful Day, Half Gallery, New York, NY 2016 St. Marks, Luce Gallery, Torino, Italy Highlights, M+B, Los Angeles, CA 2015 Back and Forth, Rhona Hoffman Gallery, Chicago, IL 2014 Past/Present, Pace London Gallery, London, UK Nathaniel Mary Quinn: Species, Bunker 259 Gallery, Brooklyn, NY 2013 The MoCADA Windows, Museum of Contemporary and African Diasporan Arts Brooklyn, NY 2011 Glamour and Doom, Synergy Gallery, Brooklyn, NY 2008 Deception, Animals, Blood, Pain, Harriet’s Alter Ego Gallery, Brooklyn, NY 2007 The Majic Stick, curated by Derrick Adams, Rush Arts Gallery, New York, NY The Boomerang Series, Colored Illustrations/One Person Exhibition: “The Sharing Secret” Children’s Book, The Children’s Museum of the Arts, New York, NY 2006 Urban Portraits/Exalt Fundraiser Benefit, Rush Arts Gallery, New York, NY Couture-Hustle, Steele Life Gallery, Chicago, IL 612 NORTH ALMONT DRIVE, LOS ANGELES, CALIFORNIA 90069 TEL 310 550 0050 FAX 310 550 0605 WWW.MBART.COM 2004 The Great Lovely: From the Ghetto to the Sunshine, curated by Hanne -
Helen Pashgianhelen Helen Pashgian L Acm a Delmonico • Prestel
HELEN HELEN PASHGIAN ELIEL HELEN PASHGIAN LACMA DELMONICO • PRESTEL HELEN CAROL S. ELIEL PASHGIAN 9 This exhibition was organized by the Published in conjunction with the exhibition Helen Pashgian: Light Invisible Los Angeles County Museum of Art. Funding at the Los Angeles County Museum of Art, Los Angeles, California is provided by the Director’s Circle, with additional support from Suzanne Deal Booth (March 30–June 29, 2014). and David G. Booth. EXHIBITION ITINERARY Published by the Los Angeles County All rights reserved. No part of this book may Museum of Art be reproduced or transmitted in any form Los Angeles County Museum of Art 5905 Wilshire Boulevard or by any means, electronic or mechanical, March 30–June 29, 2014 Los Angeles, California 90036 including photocopy, recording, or any other (323) 857-6000 information storage and retrieval system, Frist Center for the Visual Arts, Nashville www.lacma.org or otherwise without written permission from September 26, 2014–January 4, 2015 the publishers. Head of Publications: Lisa Gabrielle Mark Editor: Jennifer MacNair Stitt ISBN 978-3-7913-5385-2 Rights and Reproductions: Dawson Weber Creative Director: Lorraine Wild Designer: Xiaoqing Wang FRONT COVER, BACK COVER, Proofreader: Jane Hyun PAGES 3–6, 10, AND 11 Untitled, 2012–13, details and installation view Formed acrylic 1 Color Separator, Printer, and Binder: 12 parts, each approx. 96 17 ⁄2 20 inches PR1MARY COLOR In Helen Pashgian: Light Invisible, Los Angeles County Museum of Art, 2014 This book is typeset in Locator. PAGE 9 Helen Pashgian at work, Pasadena, 1970 Copyright ¦ 2014 Los Angeles County Museum of Art Printed and bound in Los Angeles, California Published in 2014 by the Los Angeles County Museum of Art In association with DelMonico Books • Prestel Prestel, a member of Verlagsgruppe Random House GmbH Prestel Verlag Neumarkter Strasse 28 81673 Munich Germany Tel.: +49 (0)89 41 36 0 Fax: +49 (0)89 41 36 23 35 Prestel Publishing Ltd. -
Calder / Miró Constellations
For Immediate Release Calder / Miró Constellations Pace Gallery Acquavella Galleries 32 East 57th Street, New York 18 East 79th Street, New York April 20 – June 30, 2017 April 20 – May 26, 2017 Joint Opening Reception: Wednesday, April 19, 5:30–8 p.m. New York—Pace Gallery and Acquavella Galleries are pleased to announce "Calder / Miró: Constellations," featuring the Constellations series of Alexander Calder and Joan Miró, respectively. The distinct yet complementary presentations illuminate the startling affinities between the two artists, who at the time the series were created, were separated by the Atlantic during World War II and unable to communicate. Presenting approximately 60 sculptures, paintings and works on paper in dialogue with one another, these shows highlight the varied formal, social and political concerns that informed the significant series—neither of which were actually named "Constellations" by the artists themselves. Calder: Constellations will be on view from April 20 through June 30 at Pace Gallery, 32 East 57th Street, and Miró: Constellations will be on view from April 20 through May 26 at Acquavella Galleries, 18 East 79th Street. A joint opening reception will be held on Wednesday, April 19 from 5:30 to 8 p.m. at both galleries. "This exhibition will be a landmark, both in our history of documenting the achievements of Alexander Calder and in our long and productive relationship with the Acquavella Galleries," says Marc Glimcher. "The two artists tapped into a powerful artistic current, which allowed them to create these unique but resonant series, while they were totally isolated from each other. -
Lucas Samaras New York City, No-Name, Re-Do, Seductions
For Immediate Release Lucas Samaras New York City, No-Name, Re-Do, Seductions 510 West 25th Street, New York September 15 – October 21, 2017 Opening Reception: Thursday, September 14, 6 – 8 p.m. New York—Pace Gallery is pleased to announce Lucas Samaras: New York City, No-Name, Re-Do, Seductions, an exhibition of new work by the artist encompassing 184 photographs in a seven-room installation. The artist’s thirty-fifth exhibition with Pace, New York City, No-Name, Re-Do, Seductions will be on view from September 15 to October 21, 2017, at 510 West 25th Street, and an opening reception will be held on Thursday, September 14 from 6 to 8 p.m. Pace will publish a catalogue that includes a new text by Samaras to accompany the exhibition. In his over 50-year career, Lucas Samaras has pursued a wildly diverse, post-modern practice—creating drawings, furniture, paintings, installations, jewelry, sculptures, and photographs. His work in photography began with his pioneering AutoPolaroid and Photo-Transformation self-portraits, made between 1969 and 1976, which feature his costumed or disguised self as the subject and were often manipulated with added colors or abstracted renditions of his own body. Samaras’s experimentation with photography has evolved throughout his career as new technologies have emerged, and, since the early 2000s, he has focused on digital photography and video. Using Photoshop to further manipulate and challenge the representative nature of the medium, Samaras’s photographs present distorted images of everyday subjects and continue his practice of blurring the boundaries between art and life. -
Drawings from the Marron Collection to Be Copresented by Acquavella
Drawings from the Marron Collection to be copresented by Acquavella Galleries, Gagosian, and Pace Gallery at Pace’s space in East Hampton August 12–20, 2020 Pace Gallery, 68 Park Place, East Hampton, New York Ed Ruscha, Red Yellow Scream, 1964, tempera and pencil on paper, 14 3/8 × 10 3/4 inches (36.5 × 27.3 cm) © Ed Ruscha August , Acquavella Galleries, Gagosian, and Pace Gallery are pleased to announce a joint exhibition of works on paper from the esteemed Donald B. Marron Collection, belonging to one of the twentieth and twenty-first century’s most passionate and erudite collectors. The exhibition will be on view August –, , at Pace’s recently opened gallery in East Hampton, New York. In a continuation of the three galleries’ partnership with the Marron family to handle the sale of the private collection of the late Donald B. Marron, this intimate presentation offers a glimpse into the coveted Marron estate of over masterworks acquired over the course of six decades. The exhibition will feature almost forty works on paper including sketches and studies as well as fully realized paint and pastel pieces. Works on view range from early modern masterpieces by Henri Matisse, Raoul Dufy, and Fernand Léger; to nature studies by Ellsworth Kelly and an exemplary acrylic from Paul Thek’s final series; to contemporary pieces by Mamma Andersson, Leonardo Drew, Damien Hirst, Jasper Johns, and Brice Marden, among others. A focused presentation on Ed Ruscha’s typographic and image-based drawings and a selection of his inventive artist’s books will round out the exhibition. -
The Long Overlooked Female Artists Suddenly Getting Market Attention
The Long Overlooked Female Artists Suddenly Getting Market Attention observer.com/2018/03/art-market-report-armory-fair-sales-include-mary-corse-sheila-hicks/ Margaret Carrigan March 13, 2018 Work by Norwegian artist Vanessa Baird on view at the Armory Show. Timothy A. Clary/AFP/Getty Images Bad weather didn’t keep collectors away from the 2018 Armory Show, which closed March 11 after strong attendance over its five-day run. The fair’s overall sales gave no indication that the event opened just as the second nor’easter hit New England in under a week, canceling and delaying flights from inbound visitors across the world. One buyer, Thomas Yamamoto, even hopped a flight from Shanghai to New York early to peep a painting in person that he’d bought after seeing just a photo of it. The work in question is a fetching white monochrome from 2011 by Mary Corse, a foundational figure in the male-dominated Light and Space movement started in 1960s Los Angeles. And Corse wasn’t the only overlooked lady from the mid 20th century getting snapped up at the show. “Interest in female artists from the ’60s, ’70s and even the ’80s is high right now,” London-based gallerist Alison Jacques told Observer. Indeed, her Armory Show booth boasted a number of powerhouse women, including works by Ana Mendieta, Dorothea Tanning, Betty Parsons, Michelle Stuart and Sheila Hicks. Hicks studied at Yale, where she worked with legendary modernist Josef Albers and was a pioneer of textile art in the 1960s; now 83, the Nebraska-born, Paris-based artist is finally the subject of a major solo exhibition, at Paris’s Centre Pompidou. -
Hyperobjects for Artists
Hyperobjects for Artists A reader, edited by Timothy Morton and Laura Copelin with Peyton Gardner Table of Contents: 01 Timothy Morton 02 Brenda Hillman * 03 Ester Partegas 04 Kim Stanley Robinson 05 Heather Davis 06 TVGOV 07 Joan Naviyuk Kane * 08 Charles Mary Kubricht 09 Marc von Schlegell 10 Olafur Eliason * 11 Ester Partegas 12 Candice Lin 13 Joan Naviyuk Kane 14 Beatriz Cortez * 15 Ester Partegas 16 Lynn Xu 17 Jennifer Walshe 18 Timothy Donnelley 19 Ursula K. Le Guin 20 Kathelin Gray Contributors Acknowledgements Sources and Copyright *Artworks Chapter One Timothy Morton Hyperobjects and Creativity A hyperobject is a name I invented for something that is so vastly distributed in time and space, relative to the observer, that we might not think it’s even an object at all. It’s good to have a word for things that are now only too thinkable, if not totally visible—global warming, radiation, the biosphere… Words enable you to think. Stabilizing all kinds of intense and novel feelings and sensations in a word allows for a release of (creative) energy, because you don’t have to keep on figuring the basic coordinates out—you have a word, which means things are capable of being figured out, seen… This doesn’t make everything all right, of course, but it does mean that the way you undergo the gigantic things that structure your life, from hurricanes to the mass mobilization algorithms we call social media (a phrase that begins to sound like “military intelligence”), doesn’t take up all your spare psychic processing power. -
Women Light Artists in Postwar California Elizabeth M. Gollnick
Diffusion: Women Light Artists in Postwar California Elizabeth M. Gollnick Submitted in partial fulfillment of the requirements for the degree of Doctor of Philosophy in the Graduate School of Arts and Sciences COLUMBIA UNIVERSITY 2018 © 2018 Elizabeth M. Gollnick All Rights Reserved Diffusion: Women Light Artists in Postwar California Elizabeth M. Gollnick Abstract This dissertation redefines Los Angeles “light and space” art, tracing the multiple strains of abstract light art that developed in California during the postwar technology boom. These artists used new technical materials and industrial processes to expand modernist definitions of medium and create perceptual experiences based on their shared understanding of light as artistic material. The diversity and experimental nature of early Light and Space practice has been suppressed within the discourse of “minimal abstraction,” a term I use to signal the expansion of my analysis beyond the boundaries of work that is traditionally associated with “minimalism” as a movement. My project focuses on three women: Mary Corse, Helen Pashgian and Maria Nordman, each of whom represents a different trajectory of postwar light-based practice in California. While all of these artists express ambivalence about attempts to align their practice with the Light and Space movement, their work provides fundamental insight into the development of light art and minimal abstract practice in California during this era. In chapter one, I map the evolution of Mary Corse’s experimental “light painting” between 1964 and 1971, in which the artist experimented with new technology—including fluorescent bulbs and the reflective glass microspheres used in freeway lane dividers—to expand the perceptual boundaries of monochrome painting by manifesting an experience of pure white light. -
The Art Economist December 2011 the Rise of Mary Corse and The
The Art Economist December 2011 The Rise of Mary Corse and the Ecstasy of Silence By Drew Hammond At the age of eighty-five the great Basque sculptor, Nestor Basterretxea, gloriously remarked that, "Some call me a dinosaur, but I would rather be a dinosaur than a mosquito!" The art world has seen many mosquitoes whose buzz distracts our hearing, and who, for a moment during their brief lives, seem to absorb all our attention when they alight on us to suck our blood, leaving an unsightly and irritating reminder that time quickly effaces until another season and another generation of the short-lived. At Art Cologne, a famous Berlin dealer whom I shall not name confided that, "There were many times we knew that an artist or an artist group could only last three or four years. We built them up and they became pure phenomena of the market. We all made money, and then they disappeared in the market as we knew they would. Did we do something wrong? Perhaps the collectors eventually lost their investments, but for a while, they got what they wanted, which was to be seen as having the latest thing. At least the artists could get enough money to establish themselves in some other activity without starving first." Changes in art history and art market evaluations, while ever present, can assume many guises. And the pace of such changes can idle, coast, or accelerate at whiplash speed. Market evolutions can decisively affect even the prices of artists who have been producing work of consistent quality in a consistent price range for decades. -
Qiu Xiaofei Fade Out
Qiu Xiaofei Fade Out Itaewon-ro 262, Yongsan-gu, Seoul 11 December 2018 – 23 February 2019 Opening Reception: Tuesday 11 December, 5 – 7 p.m. Seoul—Pace is honored to announce Fade Out, a solo exhibition of work by Chinese artist Qiu Xiaofei. Qiu held his first Korean exhibition at Seoul’s Doosan Art Center in 2009. Now, a decade later, the artist will display a new series of work through which he has continued his exploration and contemplation of the art of painting. The exhibition will be on view from December 11, 2018 through February 23, 2019, with an opening reception in the presence of the artist on the evening of December 11, from 5:00 to 7:00 PM. A representative figure of China's New Generation artists, Qiu Xiaofei takes a cognitive approach to painting, focusing on the effects that color and visual images have on the mind and consciousness. Unlike other recent exhibitions of the artist’s work, Fade Out is a structured presentation: four gray- green toned oil paintings, placed among several small-format landscapes and works on paper, are arranged along six powder blue walls, the color of which gradually deepens as if the light is slowly moving across the space. Two pieces, Farewell 1 and Farewell 2, occupy the focal point of the exhibition hall; in these paintings, enigma-like figures and landscapes emerge from the gloom. The small landscape paintings interspersed between them, Evening Mist and Afterglow, provide viewers with anchor points for mood, and also hint at the sunlight’s gradual retreat. -
Mary Corse at LACMA: Painting Light and Space,” Ocula
Paik, Sherry. “Mary Corse at LACMA: Painting Light and Space,” Ocula. 16 August 2019. Web. Mary Corse at LACMA: Painting Light and Space Exhibition view: Mary Corse: A Survey in Light, Los Angeles County Museum of Art (28 July–11 November 2019). Art © Mary Corse. Photo: © Museum Associates/LACMA. Mary Corse: A Survey in Light is an ideal title for Corse's major retrospective exhibition, now at the Los Angeles County Museum of Art (LACMA) (28 July–11 November 2019), that succinctly summarises her decades-long and ongoing experimentation with light. A Survey in Light debuted last year at the Whitney Museum of American Art, New York (8 June–25 November 2018), and offers a comprehensive examination of the artist's key works from the early years of her career in the mid-1960s to 2011, organised at LACMA by Carol S. Eliel, the museum's senior curator of modern art. Corse, who was born in Berkley, California, in 1945, embarked on her formal training as a painter at Chouinard Art Institute (now California Institute of the Arts) in Los Angeles in 1964. There, she made her shaped canvases, which not only convey a desire to break off with the rectilinear format of traditional painting but also a nascent interest in the perceptual experience of light. In Untitled (Octagonal Blue) (1964), for example, Corse painted the octagonal canvas with a mixture of silver flakes and light-blue pigment to create a surface that reflects ambient light. Soon, the artist moved away from colours because they undermined the presence of light and painted, for the following decades, predominantly with white or black. -
Light and Space” and “Finish Fetish” Artists
RARE OPPORTUNITY ON THE EAST COAST TO VIEW COMPREHENSIVE EXHIBIT OF WORK FROM SOUTHERN CALIFORNIA-BASED “LIGHT AND SPACE” AND “FINISH FETISH” ARTISTS Light, Space, Surface Opens at the Addison Gallery of American Art on November 23, 2021 Features Artists Including Mary Corse, Bruce Nauman, Helen Pashgian, and James Turrell Andover, MA (August 12, 2021) – Light, Space, Surface: Works from the Los Angeles County Museum of Art will offer museumgoers the opportunity to experience a distinctly West Coast style of art on the East Coast, presenting the art of Light and Space and related “finish fetish” works with highly polished surfaces. The exhibition, which opens at the Addison Gallery of American Art on November 23, 2021, is one of the most comprehensive ever assembled of these artists and highlights works that explore perceptual phenomena via interactions with light and space. Drawn from the collection of the Los Angeles County Museum of Art (LACMA), Light, Space, Surface features a wide range of media, from painting and sculpture to immersive environments. “It’s a privilege to be able to present this important period of American artistic innovation—often thought of as Minimalism with a uniquely Californian twist—here on the East Coast,” said Allison Kemmerer, the interim director of the Addison Gallery of American Art, Mead Curator of Photography, and senior curator of contemporary art. “Transforming the viewer from passive observer to active participant, the reflective surfaces, glossy finishes, and shimmering colors of these works demand