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.

Read more »

Ward Jackson 1928-2004: A Survey of Five Decades, David Richard Contemporary, Santa Fe, NM

jacksonw_stmartin_1983

Ward Jackson was born and grew up in Petersburg, Virginia. He studied painting at the Richmond Polytechnic Institute of the College of William and Mary, now Virginia Commonwealth University, earning his Master's Degree there in 1952. While still in school Jackson began the correspondence with Guggenheim curator Hilla Rebay that would eventually lead to his long tenure with that institution.

Read more »

The Indiscipline of Painting: International Abstraction from the 1960s to Now, Warwick Arts Centre, Coventry, England

bernard frieze-indiscipline of painting

Bernard Frize, Suite Segond 100 No 3, 1980 Household paint on canvas 51 x 64 inches  January 14 – March 10, 2012 The Indiscipline of Painting is an international group exhibition including works by forty-nine artists from the 1960s to now. Selected by British painter Daniel Sturgis, it considers how the languages of abstraction have remained urgent, relevant and critical as they have been revisited and reinvented by subsequent generations of artists over the last […]

Read more »

Surface, Support, Process: The 1960s Monochrome in the Guggenheim Collection, Solomon R. Guggenheim Museum, New York, NY

mono490x235

Since the late 1910s, artworks that explore the aesthetic potential of a single color or narrow spectrum of tones have emerged from a diverse range of artistic practices. This focused selection of monochrome works reveals how an apparently simple formal device served for many artists as the point of departure for a complex re-evaluation of painting and sculpture.

Read more »

Milton Resnick: The Elephant in the Room, Cheim & Read, New York, NY

log

Cheim & Read is pleased to announce an exhibition of paintings by the late Milton Resnick. The gallery has been the exclusive representative of the artist’s estate since 2006. Cheim & Read’s previous exhibition of Resnick’s paintings was in 2008 and focused on works from 1959-1963.

Read more »

Ted Stamm: Paintings

Installation view of Ted Stamm: Paintings, MINUS SPACE, Brooklyn, NY, 2011

September 24 - October 29, 2011

MINUS SPACE is delighted to present the exhibition Ted Stamm: Paintings, an overview of paintings, works on paper, street interventions, and other materials by the late NYC-based abstract painter. Prior to his unexpected death from heart failure in 1984, Stamm created a substantial, mature body of work that was at once responsive to the past, indicative of his time, and prescient of the future.

Read more »

The Indiscipline of Painting: International Abstraction from the 1960s to Now, Tate St Ives, St Ives, England

mary heilman

Mary Heilmann, Primalon Ballroom, 2002 October 8, 2011 – January 3, 2012 The Indiscipline of Painting is an international group exhibition including works by forty-nine artists from the 1960s to now. Selected by British painter Daniel Sturgis, it considers how the languages of abstraction have remained urgent, relevant and critical as they have been revisited and reinvented by subsequent generations of artists over the last 50 years. It goes on to demonstrate the way in […]

Read more »

Malevich and the American Legacy, Gagosian Gallery, New York, NY

gagosian-malevich

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 […]

Read more »

An Exchange with Sol LeWitt: A Two Part Exhibition Presented by Cabinet, Brooklyn, NY and MASS MoCA, North Adams, MA

massmoca-exchangewithsollewitt

Daniel Joglar, Instruction, 2010 Documented action Cabinet: January 21 – March 5, 2011 MASS MoCA: January 23 – March 31, 2011 Although celebrated for the revolutionary role he played in the development of both Conceptualism and Minimalism, Sol LeWitt was also renowned for his exchanges of artwork with various artists throughout his lifetime. For LeWitt, the act of exchange seemed to be not only a personal gesture, but also an integral part of his conceptual […]

Read more »

John Zinsser: New and Earlier Painting and New Auction Catalogue Drawings, Larry Becker Contemporary Art, Philadelphia, PA

larrybecker-zinsser

John Zinsser, Geometry and Ego, 2007 Enamel and oil on canvas 30 x 28 inches December 18, 2010 – February 12, 2011 Get Me to the Church on Time It was a simple enough assignment, drive the painter Marcia Hafif to her opening at Larry Becker Contemporary Art in Philadelphia. What I couldn’t have predicted was that a massive wreck on I-95 would shut down the highway completely. The trip became a seven-and-a-half hour odyssey, […]

Read more »

The Minimalist Medici: Count Giuseppe Panza di Biumo, 1923-2010, by Ruth Ann Fredenthal, ArtCritical.com, June 18, 2010

artcritical-fredenthal

Installation view of Salotto – Villa Panza Museum, Varese, Italy (l to r) Ruth Ann Fredenthal, Untitled 130, 1987-1988 Multilayered oil on Oyster linen, 60 x 60 inches Ruth Ann Fredenthal, Untitled 121, 1984-1985 Multilayered oil on Oyster linen, 66 x 60 inches The Panza Collection (Photo: David Sotnik) Count Giuseppe Panza di Biumo, 1923-2010 “Most people who have any interest in Post-War American art, whether Abstract Expressionism, Pop Art, Minimalism, Environmental Art, Conceptualism or Monochromism […]

Read more »

Robert Ryman, Richard Pousette-Dart, Kate Shepherd, The Phillips Collection, Washington, DC

phillips-shepherd

Kate Shepherd, Marigold, 2009 A Summer of Modern Art at The Phillips Collection This summer, The Phillips Collection presents Robert Ryman: Variations and Improvisations, the celebrated artist’s first major exhibition in Washington, featuring rarely seen white-on-white paintings; Pousette-Dart: Predominantly White Paintings, an exhibition of luminous, poetic works created nearly without paint; and the latest project in the Intersections contemporary art series, in which Kate Shepherd incorporates her paintings and sculptures to create an immersive environment in […]

Read more »

Unfinished: Clary Stolte, by Brent Hallard, Visual Discrepancies blog, May 26, 2010

visualdiscrepancies-stolte

Clary Stolte, CS_008 MODEL 003 overview, 2006 Galerie van den Berge, Goes, the Netherlands Brent: At some level an artwork needs to quench the desire – the need to know what something is. But also, it shouldn’t stop there. In your case what is ‘known’ is a shape. You generally use the square and it is often imbued with the hues around white. Robert Ryman used a square because it took away the need to […]

Read more »

Robert Ryman: Critical Texts Since 1967, Edited by Vittorio Colaizzi, Ridinghouse, 2009

ridinghouse-ryman

The third volume in Ridinghouse’s series of anthologies on the central figures of Minimalism, About Robert Ryman offers a crucial look at the artist. The book charts the gradual evolution of the reception of and reaction to Ryman’s art. Texts include critical responses from his very first solo exhibition to present. A comprehensive selection of over 60 essays and exhibition reviews has been collated into one volume, including texts by some of the most influential art historians and critics. This […]

Read more »

Eric Dever: White Paintings 2007-2009, Sara Nightingale Gallery, Shelter Island, NY

saranightingale-dever

Eric Dever, Zinc White on Burlap No 13, 2009 36 x 36 inches June 20 – July 9, 2009 Painting itself is the subject of Dever’s ongoing project, spanning two years and 94 paintings. In his investigation of titanium and zinc white oil paint on canvas, linen, and burlap, the exclusive use of white has more to do with a focus on paint properties and supports and is less about color. This is a progression […]

Read more »

Robert Ryman: Used Paint, by Suzanne P. Hudson, The MIT Press, 2009

robertryman-usedpaint

  Click to purchase on Amazon In this first book-length study of Robert Ryman, Suzanne Hudson traces the artist’s production from his first paintings in the early 1950s, many of which have never been exhibited or reproduced, to his more recent gallery shows. Ryman’s largely white-on-white paintings represent his careful working over of painting’s conventions at their most radically reduced. Through close readings of the work, Hudson casts Ryman as a painter for whom painting […]

Read more »

Jus Juchtmans: New Paintings, Margaret Thatcher Projects, New York, NY

    Jus Juchtmans, 20070930, 2007  Acrylic on canvas, 19.7 x 15.7 inches January 10 — February 16, 2008 Thatcher Projects presents the first New York solo exhibition of paintings by Belgian artist, Jus Juchtmans. Juchtmans paintings are often described as monochromes. However, not unlike a work of Robert Ryman, Juchtmans is interested in the viewer not only experiencing the monochrome as painting, but also as object. Every aspect of a painting’s materiality is considered, […]

Read more »

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 […]

Read more »

Ward Jackson: Heat at the Edges, A Conversation with Julian Jackson & Matthew Deleget

Ward Jackson at Kay-Mar Gallery, NY, 1964 Transit & Garden 1 (left to right)   Quite simply, you have to know about Ward Jackson and his work — he was an innovative abstract painter, a maverick editor and arts worker, and a key member of New York City’s abstract artist community.  I recently had the pleasure of speaking with Ward’s nephew, artist Julian Jackson, about his uncle’s life and work.  Our discussion that follows is […]

Read more »

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 […]

Read more »

Interview with Alan Ebnother, by Chris Ashley

  The following conversation between Alan Ebnother and Chris Ashley was conducted via email during April 17 – May 4, 2005. For further information about Chris Ashley, please visit www.chrisashley.net.   Chris Ashley: Your biography states that in 1975 you “began to recognize painting.” You were then in your early twenties and involved in the dance world. What does this mean, to “recognize painting,” and when and how did you actually begin painting?   Alan […]

Read more »

Interview with Kevin Finklea, by Matthew Deleget

The following interview was published on MINUS SPACE in October 2004 in conjunction with Kevin Finklea’s spotlight exhibition.   Matthew Deleget: Let’s begin by talking about color, the central concern of your paintings over the past decade. You’ve worked in a pharmacy for over 20 years now, which you acknowledge has greatly affected your color sensibility. In fact, every time I see a television commercial for the acid reflux medicine, Prevacid, I think of your […]

Read more »