Byron Kim, Untitled (for J.B.), 2010 Acrylic on canvas 90 x 72 inches James Cohan Gallery is pleased to announce the solo exhibition of Brooklyn-based artist Byron Kim’s recent work—a series of large-scale paintings inspired by the sky at night in the city. The exhibition opens on Friday, November 4th and runs through Saturday, December 22nd. Byron Kim: Dark, a 56-page hard-cover catalog including 15 color plates of the new work along with essays by [...]
Driven to Abstraction is a group show of contemporary artists who together represent a diverse range of entry points into abstraction.
Installation view. February 10 – March 19, 2011 Lehmann Maupin announces The Parallax View, an exhibition of significant works exploring observation as conflict, curated by Manuel E. Gonzalez. On view 10 February – 19 March, 2011, the Chelsea exhibition features works by Teresita Fernández, Dan Flavin, Gego, Mary Heilmann, Eva Hesse, Robert Irwin, Agnes Martin, Robert Morris, Bruce Nauman, and Robert Smithson, all acclaimed artists who confront traditional notions of space, light and the nature [...]
Kazimir Malevich, Painterly Realism of a Football Player—Color Masses in the Fourth Dimension, 1915 Oil on canvas 26 x 17 inches March 2 – April 30, 2011 I have transformed myself into the zero of form and dragged myself out of the rubbish-filled pool of Academic Art. I have destroyed the ring of the horizon and escaped from the circle of things, from the horizon-ring which confines the artist and the forms of nature. –Kazimir [...]
Marietta Hoferer, Big C-9 (detail), 2010 Pencil and tape on paper, 60 x 60 inches March 6 – April 11, 2010 Marietta Hoferer’s luminous pencil and tape drawings also employ rigorous formal technique but with an entirely different outcome. Hoferer begins her process by laying out a grid in pencil on paper, and then adds layers of tape that shift in tonality over time. The results are shimmering geometric patterns that appear defined by logic [...]
Installation view November 28 – December 19, 2009 C, an installation by Bergman at ParisCONCRET, configures the chemical symbol for carbon using an innovative architectural product called ‘softwall’ by Molo Design to make a translucent white curve of vertical pleats. C, in its reductive simplicity, aims to place the viewer “in an indeterminate, luminous space, in attentive contemplation” experiencing the light and space of symbolic carbon. With this project Bergman references Agnes Martin’s “To the [...]
Nasreen Mohamedi, untitled, undated Pen, pencil and ink on paper, 49.5cm x 69 cm Courtesy Glenbarra Art Museum Collection, Japan September 5 – November 15, 2009 Nasreen Mohamedi (1937–1990) was born in Karachi, (formerly India, now Pakistan) before moving to Mumbai. She travelled abroad to study, spending time in London at Saint Martin’s School of Art (1954–57) and in Paris. After extensive travels to Iran and Turkey in the 60s, she returned to India and [...]
Purchase on Amazon.com Since it was founded in 1976, Art Monthly magazine has consistently published interviews with leading contemporary artists. The interviews collected in this book offer unique insights into the thought processes and working practices of artists. From Russian Constructivists of the 1920s to Turner Prize winners, this collection of interviews constitutes an entertaining and alternative history of 20th-century art written in the first person. Contributors include: Naum Gabo, Clement Greenberg, Victor Pasmore, [...]
July 2008 Meeting Imi and Blinky at Dia: Beacon, by Sharon Butler Philip Guston Works on Paper, by John Yau June 2008 David Novros with Phong Bui, by Phong Bui 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: [...]
Agnes Martin, Wood I, 1963 January 18 — March 15, 2008 Peter Blum Gallery (Soho) presents Agnes Martin: Works on Paper. The exhibition includes over 20 drawings and watercolors from 1960 to 2004, including the very last drawing she made in 2004. Also on view is the print portfolio On a Clear Day, an important group of 30 screenprints from 1973. The exhibition looks at the development of Martin’s work, from her earliest [...]
Installation view December 1, 2007 — January 31, 2008 L&M Arts presents The Complexity of the Simple, an exhibition of more than twenty important works by twenty artists of international renown. The show demonstrates the broad range open to a systematic abstraction viewed over nearly five decades. Artists represented include such mid-century masters as Mark Rothko, Agnes Martin, Ellsworth Kelly and Josef Albers, and also critical figures of more recent date such as Felix [...]
In his series of lectures, Pictures of Nothing: Abstract Art since Pollock, Kirk Varnedoe asks tough questions. Why abstract art? What is abstract art good for? These questions, the topic of his six lectures, are familiar. It seems to me that they are asked, and in a sense answered, every time an artist makes an abstract work. They are the questions that artists ask as we wrestle with the history of abstraction and as we [...]
introduction Douglas Witmer makes paintings with a purpose. I mean this in two ways — he makes paintings purposefully, and his paintings have a purpose. This is not to say in the least that his paintings are predetermined and strictly didactic. Despite their apparently structured appearance they are expressive rather than merely planned and executed, and porous rather than closed in meaning. Witmer’s varied and improvised use of color, surface, form, and material is surprisingly [...]
Agnes Martin, by Steve Karlik I went for a walk yesterday; a thin veil of snow cloaked the sidewalk. At once, grids became apparent. The accumulation of packed snow in the concrete’s seams made opaque grids, grids that were again defined by planes of less dense, more transparent layers of snow that covered the higher surfaces. The combination of these lines and planes brought me back to painting and why painting has significance for [...]
