New Advances in Abstract Painting: Richard Bell, Matthew Deleget, Joseph Haske, Lorraine Williams, Tobey Fine Arts, New York, NY

  Richard Bell (left), Matthew Deleget (right) September 28 — October 27, 2007  Tobey Fine Arts presents New Advances in Abstract Painting, an exhibition featuring the works of four contemporary painters, Richard Bell, Matthew Deleget, Joseph Haske and Lorraine Williams. Representing several new approaches emerging from the wealth of painterly history and ideas accumulated over the last century, these artists combine various elements such as conceptual art, post-painterly abstraction, reductive strategies, mysticism and cultural commentary […]

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Fall Exhibition Highlights, Museum of Modern Art, New York, NY

    Lines, Grids, Stains, Words  thru October 22, 2007 Lines, Grids, Stains, Words presents drawings from the 1960s to the present that conflate the simple and seemingly impersonal formal and compositional vocabularies of Minimal art with references to the physical and the bodily. Concerned with issues of scale and perception rather than content, Minimal art often utilizes industrial fabrication techniques and materials, and its hallmark compositional strategies include straight lines and geometric forms organized […]

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Salvatore Panatteri: Untitled (To Dan Flavin), H29, Brussels, Belgium

  September 22 — October 10, 2007 In this current exhibition Untitled (To Dan Flavin), Salvatore Panatteri is transforming the virtually ‘invisible’, or non-colour, into concrete form so it becomes the focal point of his work. Produced by exposing sheets of photographic paper to the colour temperature of fluorescent light, the resulting series of monochromatic works look at the implication of light to the given environment.

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Minimalism and Applied: Objects for Imaginative and Real Use, DaimlerChrysler Contemporary, Berlin, Germany

  Andrea Zittel (foreground), Sylvan Lionni (back wall), Danica Phelps (right) September 21 — January 7, 2007 The artists engaged in minimalist, reduced aesthetics – from Josef Albers’ time as a lecturer at the Bauhaus in the 1920s through to contemporary positions, from Franz Erhard Walther and Heimo Zobernig through to Andrea Zittel and Leonor Antunes – have always worked on the transfer of their rigorous artistic concepts to the applied arts. These ‘transfers’ can […]

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LOST AND FOUND, Concrete Findings, by Tilman

Living in a complex visual world, the artist today is constantly driven by a deeply rooted mechanism registering his surroundings. Curiosity stemming from a natural interest in the world in general and his immediate environment in particular leads him to archive visual and sensual impacts and impressions, real and abstract. Indulgence in personal discoveries and in the examination of things around him, with the massive stream of information that this involves, requires vivid anticipation. This […]

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Richard Bottwin: Storage, Sculpture Center, Long Island City, NY

  September 9 — November 25, 2007 Richard Bottwin’s sculptures fold, hinge, and spring off the wall, creating a staccato, playful movement. Constructed out of plywood, the surfaces are detailed with directional wood grain or painted with bright acrylic colors. Each piece reveals surprising shapes and patterns based on a modernist repertoire that shift according to the viewer’s perspective. A sense of disorientation, implied weightlessness, and the element of surprise enliven the reductive forms and […]

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Michael Brennan in Breaking the White Light, Platform, New York, NY

  Michael Brennan, (Fedallah) Knife Painting 1, 2007 Oil wax and acrylic on canvas, 16 x 12 inches September 6 — October 6, 2007 Curated by artist Scott Malbaurn, Breaking the White Light features eight artists ranging from emerging to mid and late career. They work with abstraction and processes associated with this practice. This show is an attempt to put forth a manner of abstraction that crosses formal and conceptual ideas. Many of these […]

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Sharon Brant & Lynne Harlow in Material Matter, Sideshow Gallery, Brooklyn, NY

  September 8 — October 8, 2007 Sharon Brant, Untitled, 2000  Enamel on canvas under handmade glass, framed, 24 x 24 x 2.25 inches Curated by Kat Griefen, Director of AIR Gallery, from the membership of American Abstract Artists, the artists in Material Matter affirm the group’s openness to difference, both in form and theory, and its non-party line approach. Here, the organization’s legacy is manifested in the artists’ use of unlikely materials or use […]

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Terry Haggerty, Hammer Museum, Los Angeles, CA

  July 15 — January 6, 2008 Terry Haggerty’s vibrant wall paintings conjure nostalgic associations from the mustard yellow and avocado décor of the 1960s and 1970s, to optical art, to the precise lines of sugar icing on pastries. He combines humorous and historical references to form abstract compositions that electrify and manipulate the space around them. Haggerty applies multiple coats of paint to create sleek surfaces and utilizes simple lines which, when viewed together, […]

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Profile: Sydney Non Objective Group, Austral Avenue, Brunswick, Australia

  September 15-29, 2007 Curated by Daniel Argyle, the exhibition features artists Vicente Butron, Lynne Eastaway, Billy Gruner, Kyle Jenkins, Sarah Keighery, Melanie Khava, Andrew Leslie, John Nixon, Salvatore Panatteri, & Tony Triff.

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Colour Matters, Part Four, Kunstruimte 09, Groningen, The Netherlands

  Installation by Henriette van ‘t Hoog September 9 — October 13, 2007 Group exhibition of constructivistic and fundamental art by 11 artists. Accompinied by a book containing images of artworks and stamentes by 21 artists who participated in the exhibitions Colour Matters – Part Three and Four.

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Lesley Giovanelli, Factory 49, Sydney, Australia

  Installation view September 13-22, 2007 In the development of immersive environments, Giovanelli responds to and works with the surrounding architecture using techniques that are both painterly and sculptural. The exhibition space becomes a studio during installation. It bring into it pre-made elements, as well as soft, highly coloured materials; wools, foams, and cotton wadding. The process to define outcomes and allow strategies such as imprecision, informality and spontaneity is part of the work. Inspiration […]

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Mark Williams, Wade Wilson Art, Houston, TX

  Mark Williams, Choice, 2006 Acrylic paint on canvas, 48 x 60 inches  September 7 — October 6, 2007 Mark Williams emphasizes the intellectual subtleties of line, form and its edges as they meet the surface of a canvas. At first glance, intersecting lines and rectilinear forms seem to display a faultless and perfect image. However, upon closer examination, viewers discover an imperfect composition – one that propagates the illusion of the precise.

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Alma Tischler & Tilman, Gallery Sonja Roesch, Houston, TX

  Alma Tischler (left) & Tilman (right) September 8 — October 27, 2007 Alma Tischler and Tilman were both master students from Guenther Fruhtrunk at the MA Academy in Munich. He is known for his radiating colorful geometrically structured paintings. While rejecting the figure reference, the structure of parallel lines in different thicknesses becomes a pattern where color becomes form as well as figure. Even though both Tischler and Tilman went their own way to […]

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Stealing Time, Bertha & Karl Leubsdorf Art Gallery, Hunter College, New York, NY

  Installation view of Nick Stillman, Cool White, 2007 September 6 — October 20, 2007  Curated by Christa Blatchford, Chad Nelson, and Pierre Obando, the exhibition features Harrell Fletcher, Josh Greene, Fritzia Irizar Rojo, Clifford Owens, John Pilson, Nick Stillman, and MS artist Michael Zahn.

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Machine Learning Prequel, Curated by Matthew Deleget, Boyden Gallery, St. Mary’s College of Maryland, St. Mary’s City, MD

Ben Franklyn Johnson

September 2007 - January 2010 [on long term view]

St. Mary’s College of Maryland has a remarkable art collection. I first learned this when I visited the college last spring to finalize details for Machine Learning, an exhibition I planned to curate at Boyden Gallery in the fall. The college’s collection was built in a unique way with a kind of do-it-yourself spirit. The collection was mainly formed through the maverick efforts of its faculty, who quite literally drove a truck up to places like to New York City, loaded it up with art purchased from artists’ studios and sympathetic galleries, and brought it back to the college. The faculty’s aspiration in all of this was to create a teaching collection.

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