Ward Jackson: Black & White Diamonds 1960s

Installation view of Ward Jackson: Black & White Diamonds 1960s, MINUS SPACE, Brooklyn, NY, 2014

September 12 - October 25, 2014

MINUS SPACE is delighted to present the exhibition Ward Jackson: Black & White Diamonds 1960s. This is the late New York painter’s first exhibition with the gallery and the first to focus exclusively on his black and white paintings and drawings from the 1960s.

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Mark Dagley, Gabriele Evertz & Gilbert Hsiao in Buzz, Curated by Vik Muniz, Galeria Nara Roesler, Sao Paolo, Brazil

Gabriele Evertz, Four Grays Plus The Spectrum, 2011, Acrylic on canvas, 68 x 68 inches, MINUS SPACE

Buzz, Curated by Vik Muniz, Galeria Nara Roesler, Sao Paolo, Brazil
Featuring Mark Dagley, Gabriele Evertz, Michelle Grabner & Gilbert Hsiao

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Artists at Max’s Kansas City, 1965-1974: Hetero-Holics and Some Women Too, Loretta Howard Gallery, New York, NY

lorettahoward-maxs

Installation view September 10 – October 30, 2010 As the Cedar Tavern played a role in the formation of abstract expressionism, Max’s Kansas City galvanized a younger generation of artists from when it opened in 1965 to when it closed its doors in 1974. This exhibition will feature the amazing diversity of artists from every major reference point in the New York art world of the period: Abstract Expressionism, Color Field, Pop Art, Minimalism, Conceptual […]

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Punk Noise & Paint, Interview with Mark Dagley, by Don Voisine

Abstract artist and musician Mark Dagley has been working in New York and Europe for over twenty-five years. Drawing from various postwar art movements and developments: Op Art, Washington Color School, Monochrome Painting, as well as European modes of art making, such as Support/Surface and Radical Painting, Mark has created a diffuse, yet particularly American body of work. Last spring Mark retrieved a group of paintings he had in storage at his parents’ home in […]

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Color as Field: American Painting, 1950-1975, Smithsonian American Art Museum, Washington, DC

    Kenneth Noland, Following Sea, 1974 Acrylic on canvas, 98 x 98 inches February 29 — May 26, 2008 Color field painting, which emerged in the United States in the 1950s, is characterized by pouring, staining, or spraying thinned paint onto raw canvas, creating vast chromatic expanses. Exemplified in the work of Helen Frankenthaler, Morris Louis, Kenneth Noland, Jules Olitski, Larry Poons, and Frank Stella, these paintings constitute one of the crowning achievements of […]

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Color as Field: American Painting, 1950-1975, Denver Art Museum, Denver, Colorado

Morris Louis, Floral V, 1959-60  November 9, 2007 — February 3, 2008 Color field paintings are expansive canvases washed with flat areas of solid color. Color as Field is the first exhibition to bring together the works of major color field painters. The show features about 40 color field paintings and explores their sources, meaning, and impact. The exhibition includes paintings by color field artists such as Helen Frankenthaler, Morris Louis, Kenneth Noland, Jules Olitski, […]

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After Image: Op Art of the 1960s, Jacobson Howard Gallery

  Alexander Liberman, Omega IX, 1961 March 8 — April 28, 2007  In addition to being the Year of the Pig, it also appears to be the year of Op Art.  Another great survey exhibition including Yaacov Agam, Josef Albers, Richard Anuszkiewicz, Hannes Beckmann, Fletcher Benton, Karl Benjamin, Francis Celentano, Tony Conrad, Carlos Cruz-Diez, Benjamin Cunningham, Gene Davis, Jose de Rivera, Julio Le Parc, Leroy Lamis, Alexander Liberman, François Morellet, Kenneth Noland, Larry Poons, Bridget […]

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Interview with Linda Francis, by Matthew Deleget

The following interview was published on MINUS SPACE in December 2004 in conjunction with Linda Francis’ spotlight exhibition.   Matthew Deleget: I would like to begin our interview with a brief discussion of your background. You were born and raised in New York City (The Bronx). What was you first contact with the arts? Was visual art something that was understood and supported?   Linda Francis: At the time, one could get a decent education […]

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