Purchase on Amazon.com As a concrete-abstract painter during the 1950s and 60s, Olle Bærtling (1911-1981) developed a personal pictorial universe, while also occupying a firm position among the “Salon des Realités Nouvelles” and Galerie Denise René in Paris. His work was highly influential to American Op artists and Minimalists like Donald Judd. Introduction by Ustvedt Nilsson, John Peter Øystein. Text by David Birnbaum, Daniel Raskin. Price $40.
Minimalism and After I: Objects for Imaginative and Real Use, Daimler Contemporary, Berlin, Germany
Nic Hess, König Gerrit [King Gerrit], 2007 (detail) September 21, 2007 — January 27, 2008 The Daimler Art Collection presents the exhibition Minimalism and Applied I at Daimler Contemporary, Haus Huth, Potsdamer Platz in Berlin. The exhibition explores the relationship that exists between minimalist formal language and applied art. As the subtitle of the exhibition suggests these ‘transfers’ can be useful for imagination, association and play. Our exhibition at the same time represents the [...]
Small Differences Make All the Difference, by Lynne Harlow
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 [...]
101 Spring Street, NYC, Judd Foundation
Donald Judd purchased 101 Spring Street in 1968, which served as both his studio and residence for many years. It is considered to be the birthplace of installation art. All works on view at 101 Spring Street were installed by Judd. Public tours of the space are available every Friday at 11am. Fee $30 ($15 for artists).
Josef Albers / Donald Judd: Form and Color, PaceWildenstein Gallery, New York, NY
January 26— February 24, 2007
Interview with Daniel Göttin, by Chris Ashley
introduction It seems somehow appropriate to me that Daniel Göttin’s recent wall works — those in which lines of tape placed on a wall are used to make a large, dense web of intersecting lines — are called Networks. Over a two-month period Daniel and I talked about his art via electronic messages relayed back and forth across a complex network of thousands of miles of cable between Basel, Switzerland and Northern California. He could [...]
McKendree Key, Half Spaces: 207 Franklin Street #1, by Nick Stillman
The initial intention of Minimalism, as outlined by a young Donald Judd in his early essays, was not only to take art off the walls, but also to completely alter the viewer’s perception of it. Minimalism began as a type of body art, in the sense that you’re forced into a physical experience that disrupts if not eclipses the aesthetic one. Then the aesthetic experience is further muddled (or undermined) by the Minimalist insistence on [...]
Interview with Richard Bottwin, by Rossana Martinez
The following interview was published on MINUS SPACE in March 2004 in conjunction with Richard Bottwin’s spotlight exhibition. Rossana Martinez: I would like to start our interview at the beginning of your career. You came of age as an artist during the early 1970s in and around New York City. What kind of work were you making at that time? Were there any specific artists, exhibitions, or events that had a profound impact on [...]
Interview with Harmut Böhm, by Matthew Deleget
Hartmut Böhm, Quadratrelief 32, 1968 Plexiglas, 127 x 127 x 5.5 cm Peter C. Ruppert Collection Museum im Kultur-speicher, Würzburg, Germany The following interview was published on MINUS SPACE in February 2004 in conjunction with Hartmut Böhm’s spotlight exhibition. Matthew Deleget: I would like to begin our interview – your first published in English – with a brief discussion of the art climate in Germany directly following World War II. You were born in Kassel, [...]
