Gallery 9 is proud to present the first in a series of exhibitions presenting some of the most exciting practitioners in the broad yet lesser-known field of contemporary non-objective art.
Non Objective Project One, Gallery 9, Sydney, Australia
Minimalism in Germany, The Sixties II: Abstraction and Seriality, Zero, Concrete Tendencies and Sculpture as Action, Daimler Contemporary, Berlin, Germany
The Daimler Art Collection is pleased to announce the exhibition Minimalism in Germany. The Sixties II at Daimler Contemporary, Potsdamer Platz, in Berlin. The first exhibition in the Minimalism in Germany 1960s series in 2010 comprehensively showed major trends in reduced, abstract 1960s art in Germany from the Daimler Art Collection.
Endless: Laura Bell, Michelle Grabner & Amy M. Ho, Plug Projects, Kansas City, MO
Endless is PLUG Projects' sixth exhibition featuring Amy M. Ho's installation of a deep projected space, the landscape photographs of Laura Bell, and Michelle Grabner's process-based paintings. Restrained and non-theatrical, the works in the show nonetheless evoke monumental and highly abstract ideas of order, space and time. Viewers are presented with pictorial spaces, which, if only for a brief moment, make possible the loss of identity and encounter with the infinite.
Raw Materials: Vom Baumarkt ins Museum, Museum für Konkrete Kunst, Ingolstadt, Germany
Josef Albers in America: Painting on Paper, Morgan Library & Museum, New York, NY
Josef Albers (1888–1976) is best known for his series of paintings, Homage to the Square, in which he endlessly explored color relationships within a similar format of concentric squares. Less well-known are the studies he made for these compositions.
James Lee Byars: The Monument to Cleopatra, Michael Werner Gallery, New York, NY
For summer, Michael Werner Gallery presents The Monument to Cleopatra, an exhibition of works by James Lee Byars. The exhibition features a major gilded sculpture, “The Monument to Cleopatra”, shown for the first time in New York.
Jan van der Ploeg, Martijn Schuppers & Rainer Splitt, Galerie Ruth Leuchter, Düsseldorf, Germany
All I Need, 6b, Elingen, Belgium
Land of the Seven Moles, PS, Amsterdam, The Netherlands
The exhibition shows work by Frank Ammerlaan, Piet Dieleman, Ruth Campau, Peter Bijwaard, Hollerer Clemens, Michelle Grabner, Gerold Miller: the seven artists who have exhibited in PS this year.
Dashper/Reynolds, Gow Langsford Gallery, Auckland, New Zealand
In 1984 new works by Julian Dashper and John Reynolds were exhibited together at a gallery in Wellington. At the time it was noted that these works were “about living in New Zealand and living in the world at the same time. There is simultaneously order and disorder. Everything is in motion, and to survive change we abstract our experience. We reflect ourselves back on the world according to the abstractions we have made.”
Daniel Levine: Marker, Some Walls, Oakland, CA
Some Walls is pleased to present Daniel Levine: "Marker". In an interview with John Zinsser in NY Arts Magazine, Levine answers, "...my paintings aren’t as "outwardly friendly" as yours are. You’re the "friendly" abstract painter – the "A" side of a great single; I’m the "B" side, in a minor key."
Amy Feldman: Dark Selects, Blackston, New York, NY
Feldman composes striking images by employing a limited number of pictorial elements on the surface of her paintings. Simple yet acute gestures coupled with basic formal devices dovetail to create images that have a strong visual impact on the viewer. Feldman seeks a visual clarity that is at once profound and undercut by humor.
To Be Looked at…, Close to…, Larry Becker Contemporary Art, Philadelphia, PA
AC4CA Editions: Australian Centre for Concrete Art, ParisCONCRET, Paris, France
Material Tak, Panepinto Galleries, Jersey City, NJ
Panepinto Galleries and STUDIO 371 are pleased to present Material Tak, a group exhibition devoted exclusively to the practice of painting. One of the oldest and most revered forms of artistic output, painting is a doggedly powerful medium. Not merely as defined by its visceral exactitude or allegiance to color, but in its ability to strike at the core of who we are—to register on levels of the psyche otherwise untouched by the parlance of everyday life or pedagogical dogma.
Douglas Melini: A Sharing of Color and Being Part of It, Feature Inc., New York, NY
Working with the contrast between a minimal palette and intensive patterning (a dialog that allows the paintings to be simultaneously quiet yet deeply activated), Douglas Melini makes hard-edge abstract paintings that investigate color and space. “I like to think of the paintings as being built, put together part by part, creating a geometric net for the viewer, a vibratory field.”