Gabriele Evertz & Sanford Wurmfeld: Polychromy, July 8 – August 12, 2017
Gabriele Evertz: The Gray Question, September 12 – October 31, 2015
Breaking Pattern, Schneider Museum of Art, Southern Oregon University, Ashland, OR, September 30 – December 5, 2015
Breaking Pattern, February 28 – April 18, 2015
MINUS SPACE: Mark Dagley, Gabriele Evertz & Gilbert Hsiao, The Suburban, Chicago, IL, January 22 – February 26, 2012
Gabriele Evertz: Rapture, November 5 – December 17, 2011
Pointing a Telescope at the Sun, August 6 – September 17, 2011
Escape from New York, The Engine Room, Massey University, Wellington, New Zealand, April 22 – May 8, 2010
Escape from New York, Project Space Spare Room, RMIT University, Melbourne, Australia, May 8-29, 2009
Minus Space, P.S.1 Contemporary Art Center / MoMA, NYC, October 19, 2008 – May 4, 2009
Escape from New York, Sydney Non Objective, Sydney, Australia, August 3 – September 2, 2007
Gabriele Evertz (b. 1945 Berlin, Germany) has exhibited her work in solo and group exhibitions internationally, including in Australia, Germany, Italy, New Zealand, and the United States. Her recent museum exhibitions include MoMA PS1 (NYC), Heckscher Museum (Huntington, NY), Hillwood Art Museum (Brookville, NY), Columbus Museum (Columbus, OH), Patricia & Phillip Frost Art Museum (Miami, FL), Ulrich Museum (Wichita, KS), and Karl Ernst Osthaus Museum (Hagen, Germany).
Her work is included in many public collections worldwide, such as The British Museum, Brooklyn Museum, Columbus Museum of Art, Harvard University Art Museum, Hunterdon Museum of Art, Karl Ernst Osthaus Museum, Metropolitan Museum of Art, Museo de Arte Contemporáneo de Buenos Aires, Museum of Modern Art, New Jersey State Museum, Parrish Art Museum, Stiftung für Konstruktive und Konkrete Kunst Zurich, Ulrich Museum of Art, Wilhelm Mack Museum, Whitney Museum of American Art, among others. Her work has been reviewed in publications, such as Artcritical, ArtSlant, Hyperallergic, The New Criterion, Village Voice, and Wall Street Journal.
In addition to her painting practice, Evertz is a Professor of Art, Painting in Hunter College’s Department of Art & Art History, NYC. 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 ten years, Evertz has also curated several critically-acclaimed artist retrospectives and surveys of abstract painting at Hunter College, including 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).
Evertz holds an MFA in Painting and a BA in Art History from Hunter College, New York, NY.
My work investigates sensations and perceptions. The history and theory of color serve as basic tools of organization. My palette references the twelve hues of the color circle, plus black and white. My particular painting practice demands uniform precision of the painting facture that frees the observer to concentrate on color effects which suddenly and spontaneously alter with viewing distance and duration.
Informed by neuroscience and leaps of intuition my paintings aim to reveal a new and different visual experience by articulating an objective, thus universal, color language that is based on certain predications of the viewer’s response. But meaning remains open to subjective readings and color moves between reason and rapture.
Attentive viewing may turn from phenomenological moments to states of reflection which bring with it a heightened awareness of being in the world where vision, thought, and feeling concur.