DONALD JUDD Born 1928 in Excelsior Springs, Missouri
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Haber, John. “Pure Plastic Painting.” Haberarts.Com. April 9, 2013
Haber, John. “Pure Plastic Painting.” Haberarts.com. April 9, 2013. Christian Haub calls his constructions Floats, at Kathryn Markel through April 13, for they seem to float away from the wall. I like them almost as much for how firmly they hold. Haub constructs them from dyed acrylic, cast or cut into rectangular sheets. A separate strip, bolted to the wall, holds up the art, which can easily weigh twenty-five pounds. The work gains in mass from its typically vertical dimensions and repeated horizontals, but it looks ever so much lighter—and not just because of one’s expectations for plastics. I wanted to lift one off its mount and carry it away. It looks so light because it collects light, like oils. The work may sound like sculpture, but Haub is still painting. No wonder Jeremy Gilbert-Rolfe has compared him to both media, in Charles Biederman and Ilya Bolotowsky. Haub’s broadest acrylic sheets are most often opaque, the narrower strips nearly transparent, with the simplicity of red, yellow, and blue. Both are at once his canvas and his color fields. They also allow a third dimension to the vertical and horizontal fields, coming right out of the picture plane—but they are first and foremost colors. Seeing them as color has its danger, too, though. One might mistake the hard edges, right angles, asymmetry, and all-over compositions for Piet Mondrian in Lucite. After all, Mondrian’s movement did call itself Neo-Plasticism. That (or Burgoyne Diller’s stringent adaptations of Mondrian to Joe Strummer Float, 2013, 52 x 48 x 4 inches America) would miss the third dimension and the luminous. -
AGOSTINO BONALUMI: All the Shapes of Space / 1959 - 1976 4 October – 15 November 2013
AGOSTINO BONALUMI: All the Shapes of Space / 1959 - 1976 4 October – 15 November 2013 ROBILANT + VOENA 38 Dover Street, London W1S 4NL First Solo Exhibition in the UK in over 50 years. Organized in cooperation with the Archivio Bonalumi. Exhibition curated and monograph edited by Francesca Pola under the supervision of the artist. Including over 20 works by Agostino Bonalumi alongside works by Fontana, Manzoni, Dadamaino and Castellani. Featuring loans from public and private collections, as well as works for sale. To include Blu Abitabile, 1967 – an installation not exhibited since 1970. Artist may be available for interview by special advance agreement. ROBILANT + VOENA are pleased to announce an exhibition of the Italian artist Agostino Bonalumi, opening in October at their London gallery. This long-overdue project will be the first solo presentation of this significant artist in the UK since 1960. Organized in cooperation with the artist and the Archivio Bonalumi, the exhibition will examine the work of Bonalumi during the 1960s and 1970s in relationship with the other artists of the Azimut group. The exhibition will bring together pivotal examples of Bonalumi´s shaped canvas with early experimental works by his friends and collaborators in the Azimut project: Enrico Castellani, Piero Manzoni, Dadamaino, and their guide Lucio Fontana. A selection of Bonalumi’s paintings from the beginning of the 60s to the late 70s, including some unpublished and never before exhibited canvases from Italian private collections, will form the core of the exhibition and will reaffirm the important role played by this internationally lesser known artist in the development of Modern Art in Italy. -
A Brainy Timber Heiress with a Passion for Sculpture, Virginia Wright
A brainy timber heiress with a passion for sculpture, Virginia Wright brought some of the nation’s best contemporary artists Museum Whatcom Jack Carver by (’40); courtesyPhoto to Western’s Outdoor Sculpture Collection By Sheila Farr (’94) Virginia Wright (right) poses with Mark di Suvero as he assembles “For Handel” in 1974. Wright bought the soaring I-beam sculpture for Western after losing out on a different di Suvero work that would eventually resurface at Dartmouth College. ow much art can you buy with a million bucks? Those are qualities that set that Virginia Wright and her late That was the question Virginia Wright faced in 1969, husband, Bagley, apart from the crowd and made them a power whenH her father, Northwest timber baron Prentice Bloedel, couple whose impact on this region’s cultural life began well gave her a million dollar endowment and a mandate to buy before Prentice Bloedel endowed the Virginia Wright Fund. public artworks for the region. Their work has since extended far beyond it. Mr. Bloedel’s gift came as a surprise: He didn’t really like For starters, Bagley Wright was president of Pentagram, the contemporary art. But he knew what made his daughter tick corporation that built that quirky tower for the 1962 Century – and that she had the passion, the knowledge and the connec- 21 World’s Fair. Who knew the Space Needle would become tions to make his investment a pretty safe bet. Seattle’s premier landmark? At a time when Seattle’s theatrical He was right. Since that time, the Virginia Wright Fund scene was nearly non-existent, Bagley helped found the Seattle has reshaped the landscape of Northwest art and provided the Repertory Theater and served as its first president. -
For Immediate Release Dominique Lévy Presents the First London Solo Exhibition by Enrico Castellani with the Collaboration of T
FOR IMMEDIATE RELEASE DOMINIQUE LÉVY PRESENTS THE FIRST LONDON SOLO EXHIBITION BY ENRICO CASTELLANI WITH THE COLLABORATION OF THE ARTIST AND THE FONDAZIONE ENRICO CASTELLANI Enrico Castellani 9 February – 26 March 2016 Dominique Lévy 22 Old Bond Street, London London...Dominique Lévy is pleased to announce the first solo exhibition in London by Enrico Castellani, with whom the gallery has worked since its inception in 2012. Opening in February 2016 at the gallery’s Old Bond Street location, the exhibition explores the ways in which painting can occupy three- dimensional space by showcasing recent as well as historical works by the artist, most of which are on view in London for the first time. A selection of Castellani’s large-scale shaped relief canvases Superfici bianche (White Surfaces) are presented in juxtaposition with recent angular metallic paintings titled Biangolare cromato (Bi-angular Chrome) and Angolare cromato (Angular Chrome), the latter of which Castellani installs in corners. These white and metallic works are placed in dialogue with one another, highlighting the ambient light and shadow effects that occur as the works activate the architectural space in which they are situated. These three- dimensional paintings are complemented by the recent sculpture Spartito, in which Castellani references a seminal work made in 1969 by bolting hundreds of sheets of paper together, creating a biomorphic minimalist form. The exhibition is accompanied by a comprehensive book featuring a newly commissioned essay by Angela Vettese, former President of the International Jury of the Venice Biennale and director of the graduate programme at the Università Iuav di Venezia. -
Modernism 1 Modernism
Modernism 1 Modernism Modernism, in its broadest definition, is modern thought, character, or practice. More specifically, the term describes the modernist movement, its set of cultural tendencies and array of associated cultural movements, originally arising from wide-scale and far-reaching changes to Western society in the late 19th and early 20th centuries. Modernism was a revolt against the conservative values of realism.[2] [3] [4] Arguably the most paradigmatic motive of modernism is the rejection of tradition and its reprise, incorporation, rewriting, recapitulation, revision and parody in new forms.[5] [6] [7] Modernism rejected the lingering certainty of Enlightenment thinking and also rejected the existence of a compassionate, all-powerful Creator God.[8] [9] In general, the term modernism encompasses the activities and output of those who felt the "traditional" forms of art, architecture, literature, religious faith, social organization and daily life were becoming outdated in the new economic, social, and political conditions of an Hans Hofmann, "The Gate", 1959–1960, emerging fully industrialized world. The poet Ezra Pound's 1934 collection: Solomon R. Guggenheim Museum. injunction to "Make it new!" was paradigmatic of the movement's Hofmann was renowned not only as an artist but approach towards the obsolete. Another paradigmatic exhortation was also as a teacher of art, and a modernist theorist articulated by philosopher and composer Theodor Adorno, who, in the both in his native Germany and later in the U.S. During the 1930s in New York and California he 1940s, challenged conventional surface coherence and appearance of introduced modernism and modernist theories to [10] harmony typical of the rationality of Enlightenment thinking. -
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, -
New Editions 2012
January – February 2013 Volume 2, Number 5 New Editions 2012: Reviews and Listings of Important Prints and Editions from Around the World • New Section: <100 Faye Hirsch on Nicole Eisenman • Wade Guyton OS at the Whitney • Zarina: Paper Like Skin • Superstorm Sandy • News History. Analysis. Criticism. Reviews. News. Art in Print. In print and online. www.artinprint.org Subscribe to Art in Print. January – February 2013 In This Issue Volume 2, Number 5 Editor-in-Chief Susan Tallman 2 Susan Tallman On Visibility Associate Publisher New Editions 2012 Index 3 Julie Bernatz Managing Editor Faye Hirsch 4 Annkathrin Murray Nicole Eisenman’s Year of Printing Prodigiously Associate Editor Amelia Ishmael New Editions 2012 Reviews A–Z 10 Design Director <100 42 Skip Langer Design Associate Exhibition Reviews Raymond Hayen Charles Schultz 44 Wade Guyton OS M. Brian Tichenor & Raun Thorp 46 Zarina: Paper Like Skin New Editions Listings 48 News of the Print World 58 Superstorm Sandy 62 Contributors 68 Membership Subscription Form 70 Cover Image: Rirkrit Tiravanija, I Am Busy (2012), 100% cotton towel. Published by WOW (Works on Whatever), New York, NY. Photo: James Ewing, courtesy Art Production Fund. This page: Barbara Takenaga, detail of Day for Night, State I (2012), aquatint, sugar lift, spit bite and white ground with hand coloring by the artist. Printed and published by Wingate Studio, Hinsdale, NH. Art in Print 3500 N. Lake Shore Drive Suite 10A Chicago, IL 60657-1927 www.artinprint.org [email protected] No part of this periodical may be published without the written consent of the publisher. -
Press Release (Pdf)
S TEPHEN H ALLER G ALLERY NEXUS July 1– August 7, 2010 Stephen Haller Gallery is pleased to announce the opening of a new exhibition: NEXUS a gathering together of key works by gallery artists and a forecast of the upcoming season. This group exhibition reveals the connections, the shared sensibility of the gallery’s core group of international artists. LINDA STOJAK’S paintings may be thought of as “psychological self-portraits.” Her iconography is the human body. Her work emerges out of a great tradition of painting and yet stands as uniquely her own. Linda Stojak’s paintings are an exploration of the very essence of what it is to be human. Her work is a highly charged yet subtle exploration of the personal, characterized by immediacy and a palpable painterly quality, and marked by a disquieting beauty. Exciting new photographer KATE O'DONOVAN COOK’S The Waldorf Series explores issues of gender and the ambiguity of relationships. O'Donovan Cook plays with the idealization of a romantic relationship, subverting it by portraying both characters: she is the male and the female engaged in this ambiguous scenario. Her work is characterized by explorations of identity through role playing in ways both theatrical and fantastical. The Waldorf Series is in the permanent collection of the Herbert F Johnson Museum at Cornell. American painter RON EHRLICH is known for achieving rich surfaces and subtleties of tone. Ehrlich melds the textures rooted in Japanese ceramics with the spontaneity and vitality of action painting. Years spent in Japan studying the art of ceramics at a monastery profoundly influenced Ehrlich’s approach to painting. -
Untitled (To Dorothy and Roy Lichtenstein on Not Seeing Anyone in the Room), 1968
THE EMPTY ROOM AND THE END OF MAN THE EMPTY ROOM AND THE END OF MAN Robert Slifkin The Empty Room and the End of Man It is indeed impossible to imagine our own death; and whenever we attempt to do so we can perceive that we are in fact still present as spectators. Sigmund Freud, 1915 1 The spotless gallery wall . is a perfect surface off which to bounce our paranoias. Brian O’Doherty, 1976 2 “I can see the whole room! . And there’s nobody in it!” These words, borrowed from a dime-store detective comic book, where they float above the head of a man gazing out of a peephole, become in the 1961 painting of the same title by Roy Lichtenstein (1923–1997) a potent allegory of the ideal conditions for aesthetic experience in the postwar era (fig. 1). By imagining the elimination of any beholders in front of the canvas, Lichtenstein’s painting slyly parodies the modernist 1 principle of a disembodied and disinterested mode of spectatorship in Roy Lichtenstein, I Can See the Whole which the subjective contingencies of personal experience in no way Room and There’s influence the work’s ultimate significance. Beyond its engagement Nobody in It, 1961. with the legacy of the monochrome and color field painting, the work Oil and graphite on presents a decidedly forward looking vision of the seemingly depopu- canvas, 48 × 48 in. (121.92 × 121.92 cm). lated spaces that would serve in the ensuing decades as the privileged Private collection. sites for experiencing and understanding the avowedly 158 Robert Slifkin The Empty Room and the End of Man 159 Pictorialism as Theory 2 Dan Flavin, untitled (to Dorothy and Roy Lichtenstein on not seeing anyone in the room), 1968. -
Gerhard Richter
GERHARD RICHTER Born in 1932, Dresden Lives and works in Cologne EDUCATION 1951-56 Studied painting at the Fine Arts Academy in Dresden 1961 Continued his studies at the Fine Arts Academy in Düsseldorf 2001 Doctoris honoris causa of the Université Catholique de Louvain-la-Neuve SELECTED SOLO EXHIBITIONS 2017 About Painting S.M.A.K Museum of Contemporary Art, Ghent 2016 Selected Editions, Setareh Gallery, Düsseldorf 2014 Pictures/Series. Fondation Beyeler, Riehen 2013 Tepestries, Gagosian, London 2012 Unique Editions and Graphics, Galerie Löhrl, Mönchengladbach Atlas, Kunsthalle im Lipsiusbau, Staatliche Kunstsammlungen Dresden, Dresden Das Prinzip des Seriellen, Galerie Springer & Winckler, Berlin Panorama, Neue und Alte Nationalgalerie, Staatliche Museen zu Berlin, Berlin Editions 1965–2011, me Collectors Room, Berlin Survey, Museo de la Ciudad, Quito Survey, Biblioteca Luis Ángel Arango del Banco de la República, Bogotá Seven Works, Portland Art Museum, Portland Beirut, Beirut Art Center, Beirut Painting 2012, Marian Goodman Gallery, New York, NY Ausstellungsraum Volker Bradtke, Düsseldorf Drawings and Watercolours 1957–2008, Musée du Louvre, Paris 2011 Images of an Era, Bucerius Kunst Forum, Hamburg Sinbad, The FLAG Art Foundation, New York, NY Survey, Caixa Cultural Salvador, Salvador Survey, Caixa Cultural Brasilia, Brasilia Survey, Pinacoteca do Estado de São Paulo, São Paulo Survey, Museu de Arte do Rio Grande do Sul Ado Malagoli, Porto Alegre Glass and Pattern 2010–2011, Galerie Fred Jahn, Munich Editions and Overpainted Photographs, -
LOUISE NEVELSON SELECTED GROUP EXHIBITIONS 2018 Epic Abstraction
LOUISE NEVELSON SELECTED GROUP EXHIBITIONS 2018 Epic Abstraction: Pollock to Herrera, The Met Fifth Avenue, New York, opened December 17, 2018. Eye to I: Self-Portraits from 1900 to Today, National Portrait Gallery, Washington, D.C., November 4, 2018– August 18, 2019. Kindred Spirits: Louise Nevelson & Dorothy Hood, Museum of Fine Arts, Houston, November 3, 2018– February 3, 2019. The Masters: Art Students League Teachers and Their Students, Hirschl & Adler, New York, October 18– December 1, 2018. (Catalogue) Summer Group Show, Pace Gallery, Seoul, June 5–August 11, 2018. LeWitt, Nevelson, Pendleton Part II, Pace Gallery, Geneva, May 16–July 13, 2018. Dark Place of Dreams: Louise Nevelson with Chakaia Booker, Lauren Fensterstock and Kate Gilmore, Museum of Contemporary Art Jacksonville, A Cultural Institute of University of North Florida, April 28– September 2, 2018. (Catalogue) LeWitt, Nevelson, Pendleton, Pace Gallery, Geneva, March 21–May 4, 2018. 2017 Louise Nevelson: Selected Group Exhibitions 2 Function to Freedom: Quilts and Abstract Expressions, Sara Kay Gallery, New York, December 1, 2017– January 13, 2018. Black and White: Louise Nevelson/Pedro Guerrero, Farnsworth Art Museum, Rockland, Maine, October 6, 2017–April 1, 2018. American Sculpture: Sotheby’s Beyond Limits, Chatsworth, Derbyshire, United Kingdom, September 15– November 12, 2017. Vaginal Davis & Louise Nevelson: Chimera, Invisible-Exports, New York, September 8–October 22, 2017. 20/20: The Studio Museum in Harlem and Carnegie Museum of Art, Pittsburgh, July 22–December 31, 2017. To Distribute and Multiply: The Feibes & Schmitt Gift, The Hyde Collection, Glens Falls, New York, opens on June 10, 2017. Multiple Impressions, Talley Dunn Gallery, Dallas, June 10–August 5, 2017. -
Fred Sandback: Sculpture and Related Work
Fred Sandback: Sculpture and Related Work University of Wyoming Art Museum, 2006 Educational Packet developed for grades K-12 Introduction In this museum visit students will view the work of the artist Fred Sandback (1943 – 2003). These seemingly simplistic works of art created from yarn are, in actuality, based on complex ideas rooted in the thinking of the group of artists know as the minimalists. Using an everyday, mundane material, Sandback set out to create art work that was sculptural, site specific and integrated into the architectural space in which it was located. The placement of his geometric forms, his use of repetition, and his consideration of color all contribute to an art form that challenges the way we think about sculpture and space. Today his wife Amy travels to galleries and museums and, using Sandback’s drawings and notes, continues to construct work based upon the shape of an architectural space. This is the work currently on display in the UW Art Museum. History Beginning in the 1960’s, the Minimalists made and exhibited three-dimensional art that explored Fred Sandback, installation view, University of Wyoming Art geometric theories and mathematical systems, such Museum, courtesy of the University of Wyoming Art Museum as proportion, symmetry, and progression. Their artwork was usually constructed from industrial materials like brick, Plexiglas, plywood and steel. They used these machine made and finished materials so that viewers couldn’t see the artist’s hand in the completed work. They did this in reaction to a group of artists from the 1950’s known as Abstract Expressionists whose works were known for incorporating and conveying intense personal emotion and expression.