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Imi Knoebel: 24 Colors—for Blinky, 1977
Dia Art Foundation presents Imi Knoebel’s 24 Colors—for Blinky (1977), at Dia:Beacon. This epic cycle of 21 paintings marks Knoebel’s first sustained engagement with color in its manifold guises. Viewed by him as a gift from his close friend, German painter Blinky Palermo, color would become for Knoebel a primary agent in an ongoing exploration of the metaphysics of picture making. This presentation of 24 Colors—for Blinky will be the first time that the work—acquired for Dia’s collection shortly after it was realized—has been shown in North America. Knoebel made 24 Colors—for Blinky shortly after the death of Palermo, whom he called “the master of color.” To create the monumental work, Knoebel constructed 24 individual panels from wood, none of them containing a right angle, and painted each with a single, unmixed hue, ranging from cadmium orange light and quinacridone crimson to phthalo turquoise green and Paynes grey. All but one of the elements of 24 Colors—for Blinky comprises a single-shaped painted wood element; the exception consists of three such panels superimposed on each other. In this vibrant suite, Knoebel employed so many different colors that the work connotes the idea of color as a formal entity in and of itself, rather than as a signifying agent. As with key earlier works, the installation of 24 Colors—for Blinky can be variously configured both in terms of sequencing and in the number of elements on view. For the exhibition at Dia:Beacon, 24 Colors—for Blinky has been completely restored by the artist.
Recent Brooklyn Rail Posts
July 2008 Philip Guston Works on Paper, by John Yau June 2008 Wynn Kramarsky with William Corbett, by William Corbett Tribute to Robert Rauschenberg (1925–2008), by Dorothea Rockburne & Nan Rosenthal Mel Bochner, by David Markus Milton Resnick: A Question of Seeing, by Thomas Micchelli Weltanschauung and Abstract Painting, by Robert C. Morgan Rebecca Horn: Cosmic Maps, by Joan Waltemath Take Your Time: Olafur Eliasson, by Josh Morgenthau May 2008 Helen Miranda Wilson, by John Yau April 2008 Dan Walsh, by Cassandra Neyenesch Ruth Root, by Nora Griffin March 2008 John Zinsser Recent Work, by Stephanie Buhmann Agnes Martin, by Ben La Rocco Thomas Nozkowski Paintings, by John Yau Harriet Korman Recent Paintings and Drawings, by John Yau Agnes Martin's Homework, by Jeremy Sigler Freeze Frame, by Craig Olson
Laura Silver on Shinsuke Aso: Postcard (SAPC)
Laura Silver is a freelance journalist and independent radio producer. She discusses Shinsuke Aso: Postcard (SAPC), presented by MINUS SPACE at the 2008 Atlantic Avenue Art Walk.
Subset (Conical Gets Shanghai'd)
Partcipating artists include Daniel Argyle, Billy Gruner, Kyle Jenkins & Tilman.
Dirk Rathke: Bildobjekte, Malerie und Zeichnung
Imageless: The Scientific Study and Experimental Treatment of an Ad Reinhardt Black Painting
Ad Reinhardt’s Black Painting, 1960–66 (1960–66) was donated to the Guggenheim Museum in 2000 by AXA Art Insurance Corporation as a study painting after it was deemed irreparably damaged. Over the course of seven years, conservators, scientists, curators, and artists collaborated to examine the issues surrounding the conservation of this painting, including the inherent vulnerability of monochromatic and minimalist paintings to the aesthetics of aging, experimental solutions for conservation, and the associated ethics of these strategies. Physical examination and scientific analyses of the study painting contributed to a dossier of information about Reinhardt’s working methods and earlier restoration techniques. These findings are essential to the understanding of how one perceives an imageless surface of flat planes of color, how an artist’s hand (or lack thereof) confers meaning, and how one can define the essential criteria for a painting’s authenticity. Imageless takes the viewer into the world of the conservator as forensic scientist to uncover the mystery hidden beneath the monochromatic black painting. The cutting-edge technologies used in this research project are being tested to expand the current repertoire of conservation techniques. Science, art, and perception co-mingle in this exploration of the motivation of the artist, materials of the painting, and possible treatment and preservation strategies for artworks that rely on unattenuated surfaces to convey meaning. The inherent fragility of these paintings challenges conservators to maintain a flawless surface while adhering to a stringent code of ethics. For comparative viewing and appreciation of the subtleties of surface, Imageless concludes with a selection of Reinhardt’s black paintings. Presented in low light levels in accordance with the artist’s intent, the paintings offer a rare opportunity to appreciate Reinhardt’s extraordinary technique and meet the perceptual challenges so often neglected by the casual museum visitor.
Buckminster Fuller: Starting with the Universe
One of the great American visionaries of the twentieth century, R. Buckminster Fuller (1895-1983) endeavored to see what he, a single individual, might do to benefit the largest segment of humanity while consuming the minimum of the earth's resources. Doing "more with less" was Fuller's credo. He described himself as a "comprehensive anticipatory design scientist," setting forth to solve the escalating challenges that faced humanity before they became insurmountable. Fuller's innovative theories and designs addressed fields ranging from architecture, the visual arts, and literature to mathematics, engineering, and sustainability. He refused to treat these diverse spheres as specialized areas of investigation because it inhibited his ability to think intuitively, independently, and, in his words, "comprehensively." Although Fuller believed in utilizing the latest technology, much of his work developed from his inquiry into "how nature builds." He believed that the tetrahedron was the most fundamental, structurally sound form found in nature; this shape is an essential part of most of his designs, which range in scale from domestic to global. As the many drawings and models in this exhibition attest, Fuller was committed to the physical exploration and visual presentation of his ideas. The results of more than five decades of Fuller's integrated approach toward the design and technology of housing, transportation, cartography, and communication are displayed here, much of it for the first time. This exhibition offers a fresh look at Fuller's life's work for everyone who shares his sense of urgency about homelessness, poverty, diminishing natural resources, and the future of our planet.
Constraction
CONSTRACTION, an exhibition of conceptual abstraction curated by Kathy Grayson, features Tauba Auerbach, Joe Bradley, Peter Coffin, Xylor Jane, Mitzi Pederson, and Ara Peterson. While the Spring 2008 exhibition SUBSTRACTION, curated by Nicola Vassell, explored street-inspired action painter abstraction, this sister exhibition complements our survey of new trends in abstraction by comprising the best of conceptual painting and sculpture. Many young artists today are reviving strategies in abstraction that have fallen into disuse and reinvigorating them with contemporary concerns. Reshuffling the deck of conceptualism and minimalism, they use new technology and fresh sensibilities to further the projects of the last century’s best abstract artists.
John Armleder, Olivier Mosset & Haim Steinbach
Nicole Klagsbrun Gallery presents a focused show that includes three distinctly related artists, John Armleder, Olivier Mosset, and Haim Steinbach. By employing an aesthetic scheme of trilogies, the exhibition permits three single works of art to create an immediate, reactive dialogue among the artists’ concerns. For the inaugural show, Armleder, Mosset and Steinbach’s reductive manipulation of space and painting will transform the project space. Mosset’s six monochrome panels appear as cool commitments to abstraction against Armleder’s animated work and Steinbach’s precise arrangements. Together, however, the works position us to consider shape and the spatial status and relationships of the art object.
To Be Looked At...
An exhibition of work by gallery and invited artists with some changes and special projects.
Op Art Revisited
Op Art Revisited: Selections from the Albright-Knox Art Gallery aims to explore the vast influence of Op art that today has seen a resurgence of interest from both contemporary artists and the public alike.
Don Voisine: New Paintings
NOS 2008: Open
Non-Objectif Sud (NOS) presents its third annual exhibition entitled NOS Open. NOS invites artists, curators and colleagues to spend several days together, collaborate on and install an exhibition. Site-specific projects include Gary Rough’s first land work titled Eighteenth hole (for the Stonebreakers), a homage to St Andrew’s famed golf course, and Lars Wolter’s concrete/non-objective wall mural Untitled, a fractured grid overlayed with negative space. Other works by Rough comprise two series of drawings and an installation entitled Not too many, not too few , thirteen crosses made on site with materials gleaned from the property as part of the NOS residency. Tanya Barr introduces her first video entitled Principle of Polarity, a pulsating nocturne shot from the rooftops of Williamsburg in Brooklyn as well as an installation entitled As Above, So Below created on site. Tania Kitchell’s The Garden Grows presents a series of wooden reliefs composed of drawings and texts addressing ideas of space and vegetation in the landscape and her own memories of previous visits to La Barralière. Ati Maier’s compact paintings and drawings explode the idea of landscape from a singular view to a weaving vision of terrrestrial, cosmic and abstracted spaces in carnival colours. Her paintings carefully control a fleating chaos before the viewer, up–ending any sence of classical perspective. Clive Murhpy’s piece, a searing text into the wall, entitled You are beautiful because we care, was created as a performance during the opening. Blair Thurman works primarily in neon and his piece Good Hex offers a contemporary hex for the French barn. An illustrated catalogue with a text by the free-lance writer Mark Baillie will presently be available.
Meg Shirayama: L Series Paintings
First solo show by Slade 07 graduate, with minimal three-dimensional paintings
which are influenced by aspects of furniture design and which explore colour
and materials.
Sequence: Susanne Ackermann & Rossana Martinez
Gallery Sonja Roesch presents the exhibition Sequence, featuring work by Susanne Ackermann (Karlsruhe, Germany) and Rossana Martinez (Brooklyn, NY). The line, a basic mark-making gesture, transforms itself when repeated. It is through the layering and repetition, or sequence, of a line that shape, form, and depth are achieved. Both Susanne Ackermann and Rossana Martinez explore the line in a non-representational, expressive, and almost meditative manner. Susanne Ackermann’s drawings examine the line quality within the self-imposed rigid process-based work ethic. She carefully investigates not only placement and arrangement of lines, but also the color dynamics between the lines. Through repetition and arrangement, the individual colored pencil lines become part of shapes that in turn take on form. Rossana Martinez, working conceptually project based, is interested in the Body-Space relationship - a body moving through space in relation to nature and in case of this work, the ocean. A single line made out of blue thread stays constant as the drawn colored pencil lines change from rigid to dynamic.
Anonima Group Archive
The American artist collaborative, Anonima Group, was founded in Cleveland, Ohio in 1960 by Ernst Benkert, Francis Hewitt and Ed Mieczkowski. Propelled by their rejection of the cult of the individual ego and automatic style of the Abstract Expressionists, the artists worked collaboratively on grid-based, spatially fluctuating drawings and paintings that were precise investigations of the scientific phenomena and psychology of optical perception. The work was accompanied by writings: proposals, projects and manifestos - socialist in nature - which the artists considered essential to the experience and understanding of their work. Their drawings, paintings and writings, which had much in common with the positions of artist Ad Reinhardt, and with the Russian Constructivists, were included in the 1965 Responsive Eye exhibit at the Museum of Modern Art. Along with other artists in the exhibit , Anonima's work was incorrectly relegated to what came to be the highly commercialized and publicized category of Op Art. A recent reconsideration and recontextualization of Op Art, the expansive 2006 Optic Nerve exhibit at the Columbus Museum of Art, places the Anonima as the sole American collaborative group, along with the European Zero Group, Gruppo N, GRAV and others, who were examining new optical information at that time.
Mostly Green: New Paintings by Eric Dever
These eight new paintings are a record of Eric Dever's on going investigation into properties of paint media and color, offering visual experiences of pure color and surface. This work is a departure from earlier paintings based on sampled color from plants and landscape elements. Painting titles correspond to the names of specific colors assigned by the manufacturer. Each piece is constructed working with related hues (e.g., Sap Green, Viridian Hue or Chromium Oxide) mixed with varying proportions of Titanium White applied in alternating layers. In the end, each color evinces its individual character and a full range of possibilities, each painting is part of a larger continuum. Dever became interested in monochromatic painting as a NYU graduate student of Marcia Hafif, one of the founders of the Radical Painting movement. As a participant in the PS122 exhibition program, he worked with mentor Rudolf de Crignis, best known for his work with Ultramarine Blue.
Dia Announces New Director: Philippe Vergne
Dia Art Foundation announced the appointment of Philippe Vergne as Dia's new director. Mr. Vergne, currently deputy director and chief curator at the Walker Art Center, Minneapolis, assumes his post on September 15, 2008. He succeeds Jeffrey Weiss who left Dia in March of this year to resume his curatorial and scholarly career. Mr. Vergne is a highly respected museum professional in the world of contemporary art. He joined the Walker in 1997 and has organized more than twenty-five international exhibitions, including How Latitudes Become Forms: Art in a Global Age, Let's Entertain, Herzog & de Meuron: In Process, and the first retrospective of the work of Chinese artist Huang Yong Ping, a traveling exhibition that premiered at the Walker in October 2005. He additionally coordinated artist residencies with Joep van Lieshout, Christian Marclay, and Nari Ward, and oversaw the collection exhibitions that inaugurated the Walker's expanded facility. In fall 2004, Mr. Vergne was appointed director of the Francois Pinault Foundation for Contemporary Art in Paris. In July 2005, when the Foundation moved its proposed museum from Paris to Venice, Mr. Vergne returned to the Walker as deputy director and chief curator. In 2006, he co-curated the Whitney Biennial, with Chrissie Iles, and in 2007, he organized Kara Walker: My Complement, My Enemy, My Oppressor, My Love, the first survey of work by this artist; it premiered at the Walker Art Center before traveling to the Musée d'art moderne, in Paris; the Whitney Museum of American Art, in New York City; the Hammer Museum, in Los Angeles; and the Modern Art Museum of Fort Worth, Texas, where it opens on July 5, 2008.
New IS Editions Box Available: Speed of Colour
IS projects announces its second limited edition box featuring work by the artists from the show 'The Speed of Colour'. This box contains 5 pigment piezo prints (including a folding sculptural pop up piece) and one silkscreen. This is a limited edition of 41 sets and sells for 235 Euros. Boxes may be ordered from guido[at]guidowinkler.com. Includes prints by Henriëtte van 't Hoog (pop-up),
John de rijke (silkscreen),
John Tallman,
Gilbert Hsiao,
Eric de Nie &
Incandescent: Joergen Geerds,
All three artists deal with architecture and its relationship to anthropomorphism. Buildings may not look like human beings, but they mimic our consciousness in that they project light from within, or have some innate sensory rapport with the immediate natural environment.
Jan Maarten Voskuil: stretcherstretcher
Belinda Cadbury & Takashi Suzuki
Bartha Contemporary is delighted to announce the forthcoming exhibition of works by Belinda Cadbury and Takashi Suzuki. The exhibition will showcase a selection of recent paintings by Takashi Suzuki and a single site-specific work on paper by Belinda Cadbury.
La Vie en Rond
H29 presents La Vie en Rond, including nearly 50 artists from Belgium, Europe, the US and Australia. Many of the participating artist have long been working exclusively with the formal vocabulary of the round: meander, dot, circle or shere. The media ranges from wall painting, video, photography, sculpture and performance.
National Endowment for the Arts Announces
Study provides the first look at 21st century labor trends among working artists. The National Endowment for the Arts (NEA) announces the release of Artists in the Workforce: 1990-2005, the first nationwide look at artists' demographic and employment patterns in the 21st century. Artists in the Workforce analyzes working artist trends, gathering new statistics from the U.S. Census Bureau to provide a comprehensive overview of this workforce segment, its maturation over the past 30 years, along with detailed information on specific artist occupations.
Manfred Mohr: Upcoming Exhibitions
bit international - [Nove] tendencije Bildertausch 3: New Presentation
of Marli Hoppe-Ritter Collection It from Bit: Manfred Mohr & Gabriel Orozco Manfred Mohr: "visuell zuhören"
No Chromopobia
An exhibition of non-objective color paintings. Participating artists include Carla Aurich, Diane Ayott, Kate Beck, Siri Berg, Sharon Brant, Cathleen Daley, Julie Gross, Molly Heron, Kazuko Inoue, Marthe Keller, Joanne Klein, Pat Lipsky, Joanne Mattera, Lynn McCarty, Joan Mellon, Margaret Neill, Mary Obering, Doug Ohlson, Rose Olson, Paula Overbay, Susan Post, Cora Roth, Rebecca Salter, Susan Schwalb, Yuko Shiraishi, Louise P. Sloane, Linda Stillman, Rella Stuart-Hunt, Soonae Tark, Li Trincere, Suzanne Ulrich, Jean Wolff, & Tamar Zinn.
Dan Flavin: Constructed Light
The focus of this exhibition is the experience of Dan Flavin's work - sculptural installations composed of mass-produced light fixtures and fluorescent tubes - within the architecture and shifting natural light of the Pulitzer building.
Focus: Ad Reinhardt and Mark Rothko
This installation, drawn from the Museum's collection of paintings by Ad Reinhardt and Mark Rothko, focuses specifically on the fertile years between the late 1940s and the early 1960s, during which each artist identified the style and format that would engage him for the rest of his career. Reinhardt's and Rothko's ideas about form and color challenged and reconsidered European artistic traditions and philosophies, giving rise to a unique American sensibility in art in general, and particularly in painting. Their paintings were characterized not by the grand, expressive gestures and brushwork of their Abstract Expressionist colleagues, including Jackson Pollock and Willem de Kooning, but rather by subtleties in color, form, and composition.
Max Neuhaus: Circumscription Drawings
Max Neuhaus belongs to a generation of artists whose work changed the parameters and transformed the experience of art in the 1960s. A pioneer in the use of sound in contemporary art, he coined the term “sound installation” to describe his practice based on the creation of unique sounds for specific locations. As opposed to the temporal experience of hearing a piece of music, his work presents sound as a continuous material used to engage our perception of the physical space around us. Through the invisible medium of sound, Neuhaus alters the way we apprehend the world. He has said, “We sense the size and nature of the space around us with our ears as well as our eyes. Our culture is so visual, though, that we tend to forget about the aural side of things.” In addition to his work with sound, Neuhaus has long been engaged in drawing, producing visual counterparts to the sound pieces both as proposals for ideas to be executed later and as responses to existing sound works. Neuhaus calls this latter type “circumscription drawings”; they consist of two panels, an image and a corresponding text, hung side by side. The exhibition will bring together a selection of these drawings executed between 1992 and 2007, responses to sound works from as early as 1968, many of which have never been displayed in the U.S. The exhibition will coincide with the inauguration of the new sound work, Sound Line commissioned from Neuhaus for a location just outside the building’s north entrance.
On Kawara: 10 Tableaux and 16,952 Pages
For more than four decades, On Kawara has created paintings, drawings, and books that mark time in various ways, from paintings of individual dates to mailed postcards to diagrams and charts of weeks and months. On Kawara: 10 Tableaux and 16,952 Pages at the Dallas Museum of Art will mark one of Kawara’s very rare exhibitions in a United States museum, and will in fact be his first American museum exhibition in fifteen years. Kawara’s art is a record of life, not through self-expression but through everyday numbers, words, and images found in the public realm. In this exhibition, he will feature his largest-scale paintings. A group of these make reference to the United States’ moon landings in July 1969, the first time that humankind was able to see its habitat within the context of the universe as never before. The paintings of five decades were produced in the years 1966, 1976, 1986, 1996, and 2006, creating a self-portrait of the artist.
Anish Kapoor: Past, Present, Future
Anish Kapoor: Past, Present, Future assembles 13 works made since 1980, a period in which Kapoor's sculptures and installations have grown increasingly ambitious and complex. The first U.S. museum survey of Kapoor's art in more than 15 years, and the first ever to be seen on the East Coast, the exhibition premieres a new resin sculpture and features many pieces on view for the first time in this country.
Inner and Outer Space
Action/Abstraction: Pollock, de Kooning,
In Action/Abstraction: Pollock, de Kooning, and American Art, 1940-1976, the first major U.S. exhibition in 20 years to rethink Abstract Expressionism and the movements that followed, over fifty key works by 32 artists – among them Jackson Pollock, Willem de Kooning, Helen Frankenthaler, Mark Rothko – will be viewed from the perspectives of influential, rival art critics Clement Greenberg and Harold Rosenberg, the artists, and popular culture.
Donald Judd: The Writing of 'Specific Objects', 1965
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PAST PROJECTS Shinsuke Aso: Postcard (SAPC)
MINUS SPACE presented Shinsuke Aso: Postcard (SAPC) — part installation, part performance, part micro enterprise. SAPC is a postcard company run by artist Shinsuke Aso as a long-term performance. He makes postcards with found cardboard, packages, newspapers, and magazines, and then sells them for 25 cents each. The idea for SAPC derives from the global market system, in which anything can be a source of business, as well as how small economies can depend on trust among people. The postcard is simultaneously an artwork and a communication device, all depending on how the audience chooses to view it. Shinsuke Aso (b. 1979, Gunma, Japan) has exhibited his work nationally and internationally. Recent exhibitions include Tobey Fine Arts, The Center for Book Arts, Flux Factory (all NYC), and Maebashi Cultural Institute (Gunma, Japan). He holds a BFA from the School of Visual Arts, NYC, where he first began his SAPC project. Aso lives and works in Brooklyn. Shinsuke Aso: Postcard (SAPC) was generously supported by Barbara Koz Paley, Art Assets & Atlantic Assets Group.
Words Fail Me
H29 presented Words Fail Me, a group exhibition featuring artists Steve Abstraction has a tenuous relationship with language. It often eludes description. Words Fail Me included three New York City-based painters, each of whom contributed one painting to the exhibition.
Machine Learning — Henry Brown, Terry Haggerty, Gilbert Hsiao & Douglas Melini
A traveling exhibition examining pattern painting in the information age, featuring four NYC-based artists Henry Brown, Terry Haggerty, Gilbert Hsiao & Douglas Melini.
Mark Dagley
Upside Down
Upside Down featured eleven artists affiliated with Sydney Non Objective (SNO), Australia. The exhibition included work in a variety of media exploring a broad range of conceptual and formal concerns. Many of the artists exhibited in the United States for the first time. Participating artists included:
Lynne Harlow: BEAT
Machine Learning — Henry Brown, Terry Haggerty, Gilbert Hsiao, Douglas Melini & Michael Zahn
A traveling exhibition examining pattern painting in the information age, featuring four NYC-based artists Henry Brown, Terry Haggerty, Gilbert Hsiao & Douglas Melini, with a special project room installation by Michael Zahn.
TILMAN
Machine Learning — Henry Brown, Terry Haggerty, Gilbert Hsiao & Douglas Melini
A traveling exhibition examining pattern painting in the information age, featuring four NYC-based artists Henry Brown, Terry Haggerty, Gilbert Hsiao & Douglas Melini.
Escape from New York
A group exhibition surveying reductive strategies by artists living in and around New York City. Each artist presented a single work, as well as an open letter to the artist community affiliated with Sydney Non Objective. Participating artists included: Soledad Arias, Richard Bottwin, Sharon Brant, Michael Brennan, Bibi Calderaro, Mark Dagley, Gabriele Evertz, Daniel Feingold, Kevin Finklea, Linda Francis, Zipora Fried, Julio Grinblatt, Lynne Harlow, Gilbert Hsiao, Andrew Huston, Steve Karlik, Daniel Levine, Sylvan Lionni, Rossana Martinez, Juan Matos Capote, Manfred Mohr, Karen Schifano, Analia Segal, Edward Shalala, Robert Swain, Li-Trincere, Don Voisine, Douglas Witmer & Michael Zahn
Michael Zahn
Michael Brennan
Gilbert Hsiao
Jan van der Ploeg
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