George Ortman’s painted constructions of the 1950s and early 1960s are pioneering works. Their reductive geometry and modular color were widely seen as being at the forefront of young artists move away from abstract expressionism.
John Beech, Portland Art Museum, Portland, Oregon
John Beech, Reutlingen Factory Yard #2 (detail), 2010 Metallic tape on black and white photograph June 18 – October 16, 2011 The mundane, the invisible, the discarded—all become grist for the often elegant and humorous sculptures of John Beech. Conflating sculpture, painting, and photography, the British-born Beech has established an international following for his post-minimalist works. The exhibition will feature three recent sculptures and large-scale photographs that have been altered with industrial tape and enamel. [...]
John Storrs: Machine-Age Modernist, Grey Art Gallery, New York, NY
John Storrs, Abstract Forms No. 1, 1917-1919 Granite and marble Collection of the Newark Museum of Art, NJ April 12 – July 9, 2011 John Storrs: Machine-Age Modernist is the first major museum exhibition of work by this important American sculptor in 25 years. Opening at New York University’s Grey Art Gallery on April 12, the show features most of the known works—some 40 items including sculptures, paintings, and drawings―from Storrs’s most innovative period, from [...]
Alexander Calder, Gagosian Gallery, London, United Kingdom
Alexander Calder, Blue and Yellow Sickles, 1960 Painted sheet metal and steel wire 32 x 60 inches February 8 – March 26, 2011 The underlying sense of form in my work has been the system of the Universe, or part thereof….What I mean is that the idea of detached bodies floating in space, of different sizes and densities, perhaps of different colors and temperatures, and surrounded and interlarded with wisps of gaseous condition, and some [...]
Al Taylor: Wire Instruments and Pet Stains, Santa Monica Musuem of Art, Santa Monica, CA
Al Taylor, Station of the Cross, 1990 Formica laminate and wire 42 x 25 x 23 inches January 21 – April 16, 2011 Al Taylor: Wire Instruments and Pet Stains is the first American survey of work by this important and prolific artist. The exhibition features two major series in Taylor’s vast oeuvre: Wire Instruments (1989-1990) and Pet Stains (1989-1992). These distinctive bodies of work will illustrate the importance of Taylor’s process and creative breadth. [...]
Retro/Active: The Work of Rafael Ferrer, El Museo del Barrio, New York, NY
Rafael Ferrer, Exterior installation Anti-Illusion: Procedures/Materials exhibition Whitney Museum of American Art, NY, 1969 June 8 – August 22, 2010 El Museo del Barrio is proud to announce that Retro/Active, The Work of Rafael Ferrer, the first solo exhibition in a museum to examine the breadth and depth of the artist’s influential production over the last 55 years, will be on view June 8 – August 22, 2010. The travelling retrospective, curated by Deborah Cullen, [...]
Ronald Davis: Monochrome Painting From The 1960′s, Franklin Parrasch Gallery, New York, NY
Installation view January 6 – February 20, 2010 Franklin Parrasch Gallery is pleased to present the first New York show of shaped, monochromatic paintings from 1965-66 by Ronald Davis – including four iconic examples that have not been on public view since the 1960′s. In the fall on 1965 Ronald Davis introduced a series of eight geometrically shaped, richly painted monochromatic canvases at the newly opened Nicholas Wilder Gallery in Los Angeles. Consisting of rectilinear [...]
Joaquin Torres-Garcia: Constructing Abstraction with Wood, The Menil Collection, Houston, TX
Joaquin Torres-Garcia, Planos de color con dos maderas superpuestas (Planes of Color with Two Superimposed Wood Pieces), 1928 Collection: Museu d’Art Contemporani de Barcelona September 24, 2009 – January 3, 2010 The exhibition will center chiefly on works from the 1920s to the 1940s, spanning the time from when Torres-Garcia lived in Spain, New York, Italy, and France, developing toys and the vocabulary for his wood constructions, to his eventual settlement in Uruguay as the [...]
Directions: Walead Beshty: Legibility on Color Backgrounds, Hirschhorn Museum & Sculpture Garden, Washington, DC
Walead Beshty, Six Color Curl (CMMYYC): Irvine, California, July 18th 2008, 2008 Fuji Crystal Archive Type C, Color photographic paper, 93 x 50 inches Courtesy the artist and Wallspace, New York April 30 – September 13, 2009 Los Angeles-based artist Walead Beshty creates photographs and sculptures that reconsider some of the fundamental premises of modern art. Beshty’s mesmerizing photographs blend an enduring fascination with modernist visual culture and an astute inquiry into the nature of [...]
John M. Armleder: Olivier Mosset New Paintings, Galerie Andrea Caratsch, Zurich, Switzerland
Installation view March 7 – March 28, 2009 “I believe the work that is considered to be mine is someone else’s…anybody’s… the whole world. My work is a cultural event, an inevitable event. If all artists were to disappear, art would be produced by others with a different understanding, different means and different materials. As an individual, an artist simply fills a void. He is the means to an end, so that this arrangement, this accumulation of events [...]
Geometry of Motion 1920s/1970s, Museum of Modern Art, New York, NY
Hans Richter, Still from Filmstudie, 1926 35mm film transferred to video (black and white, silent) March 19–June 23, 2008 This exhibition considers the transformation of the art object from static image to light projection within two distinct artistic lineages: the unconventional optical techniques and social analyses of the 1920s Neue Optik, or “New Vision,” generation of artists, among them László Moholy-Nagy, Hans Richter, and Marcel Duchamp; and the situational aesthetics advanced by Gordon Matta-Clark, [...]
The Greatest Game of All, by Michael Zahn
“People ask me what I do in winter when there’s no baseball. I’ll tell you what I do. I stare out the window and wait for spring.” —Rogers Hornsby “I knew we were in for a long season when we lined up for the National Anthem on Opening Day and one of my players said, ‘Every time I hear that song I have a bad game’.” —Jim Leyland “You can’t sit on a lead and run [...]
