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Tomma Abts
This volume on Tomma Abts (b. 1967) is published in conjuction with the exhibition at New York's New Museum of Contemporary Art (April 9 - June 29, 2008). It explores how the artist creates forms that delight the eye and challenge the mind. While working within strict parameters, Abts has reinvented abstraction for the twenty-first century. This is the first monograph on Abts, providing an extensive overview of more than ten years of work. It includes illuminating essays by three top critics, as well as full color reproductions of virtually every painting and drawing made by the artist since 1997.
Billy Gruner: Collective Monochrome 13
Hebel_121 presents a two-person exhibition by Australian artists Billy Gruner and Sarah Keighery. Both Gruner and Keighery will be included in MINUS SPACE's upcoming exhibition at PS1 in October 2008.
My Eyes Keep Me in Trouble
Organized by CCNOA and curated by Tilman, the exhibition includes artists Justin Andrews (AUS), John Beech (UK/USA), Kjell Bjorgeengen (N), Helen Calder (NZ), Julian Dashper (NZ), Matthew Deleget (USA), Alexandra Dementieva (RUS/B) & Aernoudt Jacobs (B), Ward Denys (B), Billy Gruner (AUS), Andre Hemer (NZ), Clemens Hollerer (A), Andrew Huston (UK/USA), Simon Ingram (NZ), Kyle Jenkins (AUS), Klaas Kloosterboer (Nl), Pippa Makgill (NZ), Rossana Martinez (USA), Simon Morris (NZ), Rose Nolan (AUS), Miranda Parkes (NZ), Léopoldine Roux (F/B), Esther Stocker (I), Tilman (D/B), Emmanuelle Villard (F/B), Dan Walsh (USA), Tamara Zahaykevich (USA), Beat Zoderer (CH).
Properties
Featuring artists Iemke van Dijk, René Eicke, Pieter Geraedts, Jasper van der Graaf, Sarah Keighery, Alexandra Roozen, Léopoldine Roux & Clary Stolte.
Und
Organized by Billy Gruner (AUS), Tilman (D/B) & Jan van der Ploeg (NL) in cooperation with CCNOA Brussels (B). Participating artists include: Julian Dashper (NZ), Koen Delaere (NL), Ward Denys (B), Sacha Goerg (CH/B), Michelle Grabner (USA), Billy Gruner (AUS), Ro Hagers ((NL), Kyle Jenkins (AUS), Sarah Keigherty (AUS), Andrew Leslie (AUS), Gerold Miller (D), Leopoldine Roux (F/B), Ton Schuttelaar (NL), Ingrid-Maria Sinibaldi (F), Michal Skoda (CZ), John Tallman (USA), Tilman (D/B), Jan van der Ploeg (NL), Machiel van Soest (NL), Pieter Vermeersch (B), Jan Maarten Voskuil (NL) & Lars Wolter (D).
American Abstract Art of the 1930s and 1940s: The J. Donald Nichols Collection
This book is new to us, although it's been out for more than a decade. We just saw it today at The Morgan Library & Museum bookstore. About the book: After attending Wake Forest University on an athletic scholarship, J. Donald Nichols played professional baseball with the Baltimore Orioles. From there he went into the real estate development business. He has built more than 175 shopping centers throughout the country, and his company, JDN Realty, is listed on the New York Stock Exchange. Nichols first began collecting American Impressionist paintings in the 1970s, buying one painting as his personal reward for each shopping center he built. After ten years, he began looking for a new area in which to collect. The J. Donald Nichols Collection is now recognized as perhaps the finest collection of American abstract art of the 1930s and 1940s ever assembled.
Löffelhardt, Norberg, van der Ploeg
Geo/Metric: Prints and Drawings from the Collection
This exhibition, which inaugurates a series of newly opened galleries on the Museum's second floor, surveys the widespread and recurring impulse toward geometric abstraction in modern and contemporary art. Artists representing various movements and geographical backgrounds are featured: Cubist, Dada, and Russian avant-garde artists of the 1910s and 1920s, with their images of flat, intersecting planes and floating shapes; artists associated with Minimalism, Op art, and hard-edge abstraction in the 1960s and 1970s, whose primary interest lay in the investigation of reductive form and color; and contemporary artists who continue to exploit the infinite potential of simple geometries. Among the exhibition's highlights are several recent acquisitions, including major projects by Lyubov Popova (Russian, 1889–1924), Sol LeWitt (American, 1928–2007), Gabriel Orozco (Mexican, b. 1962), and Mark Grotjahn (American, b. 1968).
Marietta Hoferer: Off the Grid
Hoferer creates dazzling hybrid forms that are rooted in elements of drawing, collage, craft and the all-encompassing mixed-media. The resulting, unframed works present rich layers of pattern and light that inspire through their craftsmanship and subtle beauty. One reviewer from the Boston Globe offered his observation of Hoferer's work stating, "(They) could be lace doilies, or enlarged snowflakes -- no one like another. . . Sometimes it splatters over a design, as bright as sun on water, but in crystalline patterns. Sometimes it looks like white gold; sometimes it's a shadowy taupe." Hoferer's work can be found in the permanent collections of the Arkansas Arts Center, Little Rock; the Bellagio Collection, Las Vegas; the Busch-Reisinger Museum, Harvard Art Museums; and Werner Kramarsky, New York.
Jasper Johns: Gray
The exhibition catalogue includes essays by James Rondeau; Douglas Druick; Mark Pascale, associate curator, prints and drawings, Art Institute of Chicago; Richard Shiff, Effie Marie Cain Regents Chair in Art, University of Texas-Austin; Barbara Rose, noted Johns scholar; and Kelly Keegan, assistant painting conservator, and Kristin Lister, conservator of paintings, Art Institute of Chicago; as well as an interview with the artist by Nan Rosenthal, senior consultant, Department of 19th-Century, Modern, and Contemporary Art, Metropolitan Museum of Art, New York.
Leiden Assemblage No. 1
Gallery Le Petit Port in Leiden presents the international group show Leiden Assemblage No. 1. Guest curators and artists Billy Gruner (AUS) and Jan Maarten Voskuil gathered an international group of artists to integrate their work as a 'social assemblage' in a surround mural by Daniel Gottin (CH). This Swiss artist known for his spatial interventions, often with tape, made a design especially for the front room or window space from Le Petit Port. Invited artists are aside Gottin and the curators Daniel Argyle (AUS), Jasper van der Graaf, Kyle Jenkins (AUS), Andrew Leslie (AUS), Tilman (B), Thomas Wildner, Guido Winkler and Giles Ryder (AUS). They are all working in the 'Modernist' field of non objective art. This is an area nowadays often to be described as a decorative quoting or individual appropriation of former visual appearances without the original ideological social concepts. In the Leiden assemblage some of this ideology will be revived. By nature of the space, the window gallery is a prominent part of the street, the show will direct itself to virtual everybody passing by; bringing back in memory the ideal social cultural participation. More important, the group concept drives the artists to modestly submit into a Gesamtkunstwerk.
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.
Drawing a Conclusion
Participating artists include ERNESTO BURGOS (USA) / NADINE CHRISTENSEN / MATTHEW DELEGET (USA) / ANTHONY FARRELL / TORBEN GIEHLER (USA) / LILY HIBBERD / CHRIS LG HILL / HEIDI LINCK (NL) / NICK MANGAN / ROB MCHAFFIE / OLA VASILJEVA (LV/NL) / GABRIELLA MANGANO & SILVANA MANGANO.
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.
Tilman
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 &
A Flavor of Pop
Have you ever wondered what would happen if you crossed Minimalist art with Pop art? At Charlotte Jackson's Project Space you can find several answers to this question in art created by Tim Jag, Keira Kotler, Yumi Janairo Roth, and Jeremy Thomas.
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.
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