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Video Tour of Exhibition

Press
Gabriele Evertz’s Song Cycle, by Leslie Roberts, Two Coats of Paint, November 5, 2022

Gallery Chronicle, by James Panero, The New Criterion, November 2022

Artist Talk
Gabriele Evertz, Thursday, October 13, 2022

New Interview
In the Studio with Gabriele Evertz
by Christian Nguyen, American Abstract Artists, August 2022

MINUS SPACE is delighted to present Gabriele Evertz: Path, a solo exhibition of new, large-format color paintings by the Brooklyn-based artist. This is the artist’s fourth solo exhibition at the gallery.

Gabriele Evertz’s new paintings originated at the start of the COVID-19 pandemic in spring 2020 as she responded to and reflected upon the notions of restriction, adversity, distress, and sorrow. She asked herself the question – “what to do now?” – and concluded that our moment called for continuity in the studio, but to also define a new reality in her paintings.

In her new artworks presented in Path, this called for the expansion of her traditionally vibrant palette of prismatic colors to now include low-intensity earth tones for the first time, which according to the artist, “release a quiet light, bringing with it a sense of tranquility that is reminiscent of a world softened by shadows.” The Latin root word for shadow is “ombra” and Evertz explored the complete range of umber and ochre pigments which are among the oldest materials used by artists. Evertz states, “When the pandemic hit, I couldn’t use these bright, joyful colors anymore and I looked to the prehistoric palette, the earth colors…to express strength, to share the strength that color can give to the viewer…and it connected me to the first artists.”

Evertz expanded palette continues to achieve a high degree of luminosity, which appears to the viewer as though her paintings exude a kind of radiant, internal light. When color is presented in the form of the artist’s signature configuration of vertical and diagonal stripes, “the form disappears and the color comes forward”, taking the viewer into the space of a painting. “The stripe is recognized at a different level in your mind than the color. Color has a deeper recognition and enters emotion at a deeper level than the stripe does,” states the artist.

Her new paintings are also deliberately large in format, scaled to 6 by 6 feet / 183 x 183 cm. She asserts, “Color can’t function when it’s small. It’s a physical relationship to the work. Painting has to be at least as tall as you are in order to challenge you, to invite you in, and to ask questions.”

Evertz summarizes, “Scientists tell you that in nature light makes the color, but a painter will tell you that colors make light…I’m not painting with light. I’m painting with colors. And colors make light in the painting…For me the beauty is to grasp the power and aliveness of color. It bestows a sense of strength that brings us together as a community. This is my new expectation of art.”

The artist will lead an in-person exhibition walk-through on Saturday, September 24, at 3pm. Masks are required for the health of all guests.

The artist will also give a free, online public talk via Zoom on Thursday, October 13, from 7-8pm EST. Register here.

For available paintings on both canvas and paper, as well as additional information, please contact the gallery.

ABOUT THE ARTIST
Gabriele Evertz (b. 1945 Berlin, Germany; lives Brooklyn, NY) has exhibited her work in solo and group exhibitions internationally, including in Argentina, Australia, Brazil, France, Germany, Greece, Italy, New Zealand, United Kingdom, and the United States. Her recent museum exhibitions include the South Bend Museum of Art (South Bend, IN), The Baker Museum (Naples, FL), Mattatuck Museum (Waterbury, CT), Columbus Museum (Columbus, OH), Heckscher Museum (Huntington, NY), Hillwood Art Museum (Brookville, NY), Louisiana Art & Science Museum (Baton Rouge, LA), MoMA PS1 (Long Island City, NY), Museo de Art Contemporáneo (Buenos Aires, Argentina), Osthaus Museum Hagen (Hagen, Germany), Patricia & Phillip Frost Art Museum (Miami, FL), and Ulrich Museum (Wichita, KS).

Evertz is a member of the prestigious American Abstract Artists, nominated by the late artist Mac Wells in 1996. Her work is included in many public collections worldwide, such as the Art in Embassies Program of the U.S. Department of State, British Museum, Brooklyn Museum, Columbus Museum of Art, Ewing Gallery / University of Tennessee Knoxville, Hallmark Collection, Harvard University Art Museum, Metropolitan Museum of Art, Mississippi Museum of Art, Museo de Art Contemporáneo (Buenos Aires), Museum of Fine Arts Boston, Museum of Modern Art / Library Special Collection, Museum Modern Art (Hünfeld), New York Public Library, New Jersey State Museum, Osthaus Museum Hagen, Phillips Collection, Princeton University Library, St. Lawrence University Art Museum, Stiftung für Konstruktive und Konkrete Kunst (Zürich), Whitney Museum of American Art, and Wilhelm Hack Museum, among others.

In addition to her painting practice, Evertz was Professor of Art, Painting in Hunter College’s Department of Art & Art History, NYC from 1990-2018. She is a key protagonist in the renowned Hunter Color School, alongside other color painters, including Vincent Longo, Doug Ohlson, Robert Swain, and Sanford Wurmfeld. Over the past fifteen years, Evertz has also curated several critically-acclaimed artist retrospectives and exhibitions, including Dual Current: Inseparable Elements in Painting and Architecture; Visual Sensations: Robert Swain Paintings, 1967-2010; Presentational Painting III; Seeing Red: An International Exhibition of Nonobjective Painting (co-curated with Michael Fehr); Set in Steel: The Sculpture of Antoni Milkowski; and Mac Wells: Light into Being (co-curated with Robert Swain).

ABOUT MINUS SPACE
Founded in 2003, MINUS SPACE presents the past, present, and future of reductive art on the international level. We launched our reconceived website to make learning about new art enriching and collecting rewarding. In addition to presenting engaging, available artworks by more than 20 international artists, the website also features an Editions page, which highlights compelling limited edition prints and multiples by gallery and affiliated artists dating from the 1960s to today. The Books page presents dozens of new and out-of-print publications about gallery artists and reductive art, including monographs, exhibition catalogues, writings, and ephemera.

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