May 1 – June 5, 2010

Terry Haggerty has in recent years become known to a wide audience, due to numerous exhibitions and his spectacular wall installations, most recently at the Dallas Cowboys’ new stadium, CCNOA in Brussels, or Hammer Museum in Los Angeles. In what is now his third individual show at Kuttner Siebert Galerie, Terry Hagerty shows his newest works, which represent the logical development of what has always characterized his painting.
The dictum of abstraction in Terry Haggerty is not only shown in the reduced structure of what is represented but also in the display of materiality. Nowhere is the work of the artist hand visible, and in so doing the concept of artistic uniqueness that accompanies gesture can be understood. But the painting is unique precisely because the absence of the artistic hand, at the same time the most superficial character of minimal art, can underscore the works’ object character.

Terry Haggerty’s works are marked by their extraordinary perfection, whereby several layers of varnish seal the surface of the image, thus keeping the visitor at a distance. But he does not succeed in refusing the visual impact. And it is even more heightened in his new works by way of the deformation of the support, through the sculptural accentuation of the painted sculptures. Distortions of the right angle such as buckling, stretching, or constriction underscore the forces immanent to the image in perception. Finally, what is painted condenses more tightly to an object, the support becomes the body of the image so that it is no longer possible to decide whether what is painted follows the support or if the body follows the painterly structure.

Poul Gernes, Zielscheibenbild / Target B, 1966-68

Opening: March 25, 2010

Curated by Renate Wiehager, “Pictures about Pictures. Discourses in Painting” – is the Daimler Art Collection’s exhibition title for the Museum Moderner Kunst in Vienna. About 130 works ranging from Classical Modernism and the post-war avant-garde via European Zero and Minimalism to international contemporary art are being presented. The exhibition is structured into thematic fields, each of which presents discursive references to historical and current positions: Bauhaus and De Stijl, Hard Edge and New Color School USA, Constructive and Concrete Tendencies, European Zero avant-garde, Minimalism and design aspects, Neo Geo and contemporary positions. The show brings together about 75 artists from roughly twenty countries, and the works cover a time span of one hundred years, from 1908 (Adolf Hölzel) to 2010 (Andreas Schmid).

As already suggested by the exhibition title – “Pictures about Pictures. Discourses in Painting” – this show is not showcasing a museum-style sequence of styles and isms. The presentation is in fact attempting to create a referential dialogue between the works and to reveal discursive links between individual formal ideas and subject matter. The intention here is to consider art history not in the sense of ‘invention’ and ‘progression’, but as an argumentative union of pictures in temporary contexts and transitional forms. Dialogue situations of this kind come about in the first place within the horizon of epochs transcribed by time and rendered visible by the exhibition – European avant-garde movements before 1939; re-adoption and reformulation of abstract tendencies in Western art after 1945; analytical deconstructions, remakes and media cross-dressing in the direction of architecture, design and Ambient Art in Contemporary Art. But discursive references can also be discerned over and above the passage of time or developments that diverge culturally and ideologically – Simone Westerwinter and Anselm Reyle make an ironic allusions to the European Zero avant-garde; Jonathan Monk translates Kazimir Malevich’s “Black Square” into an endless loop; Andreas Reiter Raabe and Olivier Mosset analyse the “end of painting” topos with pictorial forms of emptiness and nothingness; Eva Berendes reconfigures the material aesthetics and formal inventory of Russian Constructivism; Jens Wolf develops rhythmic-serial cover versions of Josef Albers’s “Homage” paintings; Markus Ebner and Tom Sachs ‘repeat’ pictures by their teachers Günter Fruhtrunk and Peter Halley.

Participating Artists:
Absalon (IL) – Josef Albers (D) – John M Armleder (CH) – Hans Arp (F) – Jo Baer (USA) – Eva Berendes (D) – Ilya Bolotowsky (RUS) – Daniel Buren (F) – Andre Cadere (PL) – Enrico Castellani (I) – Krysten Cunningham (USA) – Dadamaino (I) – Stephane Dafflon (CH) – Ian Davenport (GB) – Gene Davis (USA) – Robyn Denny (GB) – Markus Ebner (D) – Maria Eichhorn (D) – Helmut Federle (CH) – Ulrike Flaig (D) – Adolf Fleischmann (D) – Günter Fruhtrunk (D) – Rupprecht Geiger (D) – Poul Gernes (DK) – Liam Gillick (GB) – Hermann Glöckner (D) – Mathias Goeritz (PL) – Terry Haggerty (GB) – Peter Halley (USA) – Al Held (USA) – Jan Henderikse (NL) – Nic Hess (CH) – Adolf Hölzel (A/CZ) – Donald Judd (USA) – Michael Kidner (GB) – Jim Lambie (SCO) – Alexander Liberman (UKR) – Sylvan Lionni (GB) – Richard Paul Lohse (CH) – Heinz Mack(D) – Almir da Silva Mavignier (BRA) – John McLaughlin (USA) – Christian Megert (CH) – Mathieu Mercier (F) – Gerold Miller (D) – Jonathan Monk (GB) – Jeremy Moon (GB) – Francois Morellet (F) – Sarah Morris (USA) – Olivier Mosset (CH) – John Nixon (AUS) – Kenneth Noland (USA) – Julian Opie (GB) – Phillipe Parreno (DZ) – Henk Peeters (NL) – Danica Phelps (USA) – Lothar Quinte (D) – Martial Raysse (F) – Andreas Reiter Raabe (A) – Anselm Reyle (D) – Gerwald Rockenschaub (A) – Ugo Rondinone (CH) – Tom Sachs (USA) – Pietro Sanguineti (D) – Eckhard Schene (D) – Oskar Schlemmer (D) – Andreas Schmid (D) – Oli Sihvonen (USA) – Ferdinand Spindel (D) – Katja Strunz (D) – Jean Tinguely (CH) – John Tremblay (USA) – Georges Vantongerloo (B) – Gerhard von Graevenitz (D) – Simone Westerwinter (D) – Jens Wolf (D) – Michael Zahn (USA) – Heimo Zobernig (A)

Terry Haggerty, Recoil, 2009
Acrylic on canvas, 150 x 180 cm

January 15 – February 27, 2010

Andreas Grimm Gallery presents a solo exhibition with new works by Terry Haggerty. Haggerty’s interest has “always been… in how we arrive at abstraction”. His works appear to play with the three-dimensional affects of trompe l’oeil and with theories of color in art and design from early in the last Century. They also refer to modern abstract iconography, in particular that of the Op Art movement of the 1950s and 60s.

His new shaped works, exhibited for the first time in this exhibition, present layers of overlapping color that distort the picture plane. Since the canvas structure of these works has been shaped slightly, the viewer perceives both the effect of the lines bending to create the shape of the canvas and the opposite; the canvas appears to make the lines bend. With the shaped works there is a sense that the illusionistic painting becomes tactile like an object or that there is an outside pressure applied to distort the rigid rectangle into a subtly curved form.

Consistent with his past work, Haggerty maintains in these paintings a focus on the dynamic gesture of line that embodies not actual objects, but rather, actions or occurrences, like letters or other symbolic abstractions. The viewer is left with an odd sense of displacement that throws the canvas out of shape. In the work “Recoil,” two bands snake together contrapuntally up the canvas creating a strong tension of a stretched, fibre-like abstraction that could spring back like a rubber band. Each of the works embodies tension, movement and gesture, all brought together into a seamlessly perfected, matte surface eliciting the tactile curiosity of all who view them.

Terry Haggerty (born 1970 in London) studied painting at the Cheltenham School of Art in Gloucestershire, Great Britain, and currently lives and works in Berlin and New York.

Following “Inside Out” in 2007, this is the second exhibition by Terry Haggerty at Andreas Grimm in Munich. Among his numerous exhibitions in Europe and the USA, Haggerty’s works were shown at the Hammer Museum, Los Angeles, at P.S. 1 Contemporary Art Center, New York and CCNOA, Brussels.

June 19 – July 12, 2009

CCNOA presents a solo exhibition by Belgian artist Greet Billet, which will take place in all 3 exhibition rooms of CCNOA. Billet’s exhibition is based on her on-going research project The development of the monochrome in its digital and analogue/graphical form of apparition and will present a large site-specific installation, a new video work as well as a printed edition. The fact that Terence Haggerty’s large site-specific wall paintings in the main space will remain on view during Greet Billet’s exhibition, will provide the public with an excellent opportunity to reflect on the state of digital-based research and its application in the field of non-objective art today.

CCNOA presents a large site-specific wall painting by British artist Terry Haggerty in the main space. Their program in the multimedia space will present a video work/animation by Piki & Liesbet Vershueren (BE) and their program in the project space will feature site-specific installations by Eric Tillinghast (US/until 24/05) and New Zealand artist Simon Ingram (28/05 – 14/06).

Installation view

Terry Haggerty
Haggerty has become known in recent years for paintings that express the formalist vocabulary of abstraction in a new way. The principle of serial composition can be discerned in Haggerty’s work: light-colored stripes alternate with darker ones to form regular, often horizontal arrangements, which also have a pattern-like quality due to their dense structure. This would not seem particularly remarkable were it not for the fact that Haggerty breaks this linear formation at the edges of the painting — and occasionally also at the symmetrical center of the composition—by bending the lines in a different direction as they approach the boundaries of the painting support. This has a crucial effect on the overall pictorial appearance, in that it immediately transforms the planimetric structure of the painted motif into an illusory perception of three-dimensionality within the image. (Friedrich Meschede) The surface seems to continue beyond the boundaries of the picture support, with the result that the two-dimensional paintings suddenly resemble painted volumes or reflect the illusory perception of a third dimension back onto the pictorial motif. Haggerty’s vibrant wall paintings conjure nostalgic associations from the mustard yellow and avocado décor of the 1960s and 1970s, to optical art, to the precise lines of sugar icing on pastries. He combines humorous and historical references to form abstract compositions that electrify and manipulate the space around them. Biography: Terry Haggerty was born in London in 1970 and lives in New York. He studied at the Southend School of Art, Essex, England, and the Cheltenham School of Art, Cheltenham, England. His work has been featured in solo exhibitions at Kuttner Siebert, Berlin; Grimm Rosenfeld, Munich; Konsortium, Düsseldorf; Aschenbach & Hofland, Amsterdam; and Riva Gallery, New York. He has participated in group exhibitions at Galerie Max Hetzler, Berlin; Sikkema Jenkins & Co., New York; the Aldrich Contemporary Art Museum, Ridgefield, Connecticut; and Artists Space, New York. Haggerty’s work was also included in the Prague Biennale (2003) and the Venice Biennale (1994). This is Haggerty’s first solo exhibition in Belgium.

Installation view

Eric Tillinghast 
After attending art school in Sweden, Eric Tillinghast began his art career in California creating charcoal line drawings that became increasingly geometric as he developed and matured. The precision and carefully developed detail of these early works has carried through in his present work, however, in the form of meticulous execution and careful attention to every aspect of design. Finding that he could explore his ideas about line and space more succinctly with metal, he began making box-like constructions of varying sizes and finishes and engraving them with geometrically ordered lines and patterns. Once engaged with this new material, he felt that he had found his form. These works first appeared as singular objects, but soon he began to create pieces with multiple components, often arranged in a grid. As Tillinghast’s work with steel began to evolve, cylindrical shapes appeared and he began to incorporate water into his pieces. His interest was no longer just with space and line, but also with light and liquid. “Empires” is the latest group of works in color by Eric Tillinghast. All of these paintings are made on small, unfolded cardboard boxes and packaging material. As different as each is from the next, they are all a means to the same end: a man-made container, and yet the shapes and varieties employed to make even the simplest rectangular box are apparently infinite. This series explores these forms and the simple geometry they possess.

Installation view
Photo: Matthew Septimus

Closes Monday, May 4, 2009

The exhibition is curated by artist, Brooklyn Rail publisher, and P.S.1. Curatorial Advisor Phong Bui. The exhibition marks MINUS SPACE’s 5th anniversary.

We greatly thank curator Phong Bui and the remarkable staff at P.S.1, the participating artists and their galleries, and our generous donors, whose financial support made this exhibition possible.

Exhibiting Artists
Soledad Arias, Shinsuke Aso, Sharon Brant, Vicente Butron, Bibi Calderaro, Melanie Crader, Matthew Deleget, Lynne Eastaway, Gabriele Evertz, Zipora Fried, Daniel Göttin, Julio Grinblatt, Billy Gruner, Terry Haggerty, Inverted Topology, Steve Karlik, Sarah Keighery, Andrew Leslie, Daniel Levine, Juan Matos Capote, Salvatore Panatteri, Karen Schifano, Jan van der Ploeg, Don Voisine & Douglas Witmer

PLEASE NOTE: Our exhibition in P.S.1’s Boiler Room space closed on January 26, 2009.

Daniel Robert Hunziker, Corner, 2009
142 x 125 x 75 cm

March 13 – May 9, 2009

Andreas Grimm München presents MAXIMAL MINIMAL featuring artists Robert Dowling, Terry Haggerty, Daniel Robert Hunziker, Donald Judd, David Renggli, Stefan Sandner, Sebastian Wickeroth & Claudia Wieser.

The title of the exhibition is meant to juxtapose the term ‘Minimal Art’ with its antonym ‘Maximal’, not as a paradox or contradiction, but rather as a combination of thoughts on the nature of the works shown. It explains the relationship of the history and influences of Minimalism on contemporary art. From its beginning at the German Bauhaus to the American Minimal Art of the 60’s, the term ‘Minimal’ reflects a reduction within a formal repertoire, but can be misinterpreted as a limitation within its own artistic field. The exhibition shows that despite a formal reduction within individual works, artists achieve a maximal effect on the viewer. The drawings, sculptures and paintings included in the exhibition may suggest that, although the aesthetics of some have a more academic and interpretative meaning rather than an immediate and material approach, aesthetics and substance should not be mistaken as contrasting poles, but rather as coexisting components of Minimal Art. In this way, the exhibition provides different avenues through which the viewer may experience contemporary interpretations of Minimalism.

Among Carl Andre, Robert Morris, Sol Lewitt, Dan Flavin, Fred Sandback or Richard Serra, Donald Judd (*1928 in Excelsior Springs/Missouri, †1994, New York, USA) is considered to be one of the pioneers and protagonists of the American Minimalism. His wall sculpture ‚Untitled (87-28 Menziken)’, 1987, shown at Andreas Grimm München points out the spacial dimension of works of Minimal Art as well as its Classicism in terms of the movement.

A cursory view on the drawings of Terry Haggerty (*1970 in London, England), which are shown for the first time here, reveals restrained clear, schematic forms and consistent coloration. A closer look shows the capillary pencil strokes that assist the artist in his drawing process. Instead of erasing them afterwards, Haggerty shows them as basic elements of his works. In doing so, he discloses the creative process and the construction of the constructed.

The objects of Daniel Robert Hunziker (*1965 in Walenstadt, Switzerland) are positioned between installation and model. Their concrete sources are found mostly in constructions in ones daily environment to which Hunziker looks with the eye of a sculptor. The piece shown in the exhibition, ‘Corner’, 2009, reveals the artist’s particular interest in the interaction between light and material surface.

Robert Dowling (*1979 in London, England) gathers simple shapes from a wide variety of sources, which he recombines to produce complex recurring geometric works. Adopting a sculptural approach to making paintings that pop back and forth between 2- and 3- dimensions, his practice echoes and subverts the methodologies and processes of minimalism.

We could take David Renggli’s (*1977 in Zurich, Switzerland) work ‘Schloss’, 2009, (german for castle and lock) as though it were in a thwarted dialog with works of Minimalism, which are already considered traditional. The smooth, polished surface of ‘Schloss’ displays, with a subtle irony, the object’s inoperability. We are able to participate in Renggli’s view on the history of art, part criticque of Minimalism, part commentary on the heroizing of the modern ‘masters’ of Minimal Art.

In Sebastian Wickeroth’s (*1977 in Issum, Germany) floor sculpture, corrosion counters the formal, geometrical and monochrome perfection. But it is not about the destruction of a sculpture, but to create decomposition as an equal mode of construction. In using simple materials like plasterboard walls, wood, styrofoam and enamel, which are turning into room filling, extensive interventions in space, we could also disclose an artistic statement.

By his decision to entitle his work ‘Guess I am doing fine (target)’, 2003, Stefan Sandner (*1968 in Vienna, Austria) sets off the traditional objectivity of Minimal Art. Through this title, the impression of coloured circles fitted into each other and placed on two triangular canvases is channeled toward the idea of a target. Accordingly, viewers’ interpretations of the work are directed away from the non-objective and abstract to the representational, while at the same time, undermining it through the use of combined shaped canvases reminiscent of Color Field and Minimal masters.

The exhibition also discusses the boundaries of Minimal Art. Does the viewer come to the decision arbitrarily if he or she views the work of Claudia Wieser (*1973 in Freilassing, Germany) as part of the tradition of Minimalism or not? Her fine line-making practice, which could be seen as at the edge of Minimalism, provokes the idea of Minimalism’s limits.

Installation in cafe space

Exhibition in cafe space continues until May 2009.

(Boiler Room exhibition closed on January 26, 2009.)  

MINUS SPACE
Curated by Phong Bui
P.S.1 Contemporary Art Center
A Museum of Modern Art Affiliate
Long Island City, NY  

The exhibition is curated by artist, Brooklyn Rail publisher, and P.S.1. Curatorial Advisor Phong Bui, and includes the work of 54 artists from 14 countries. The exhibition marks MINUS SPACE’s 5th anniversary.

Participating Artists
Soledad Arias, Shinsuke Aso, Marcus Bering, Hartmut Böhm, Richard Bottwin, Sharon Brant, Michael Brennan, Henry Brown, Vicente Butron, Bibi Calderaro, Melanie Crader, Mark Dagley, Julian Dashper, Christopher Dean, Matthew Deleget, Lynne Eastaway, Gabriele Evertz, Daniel Feingold, Kevin Finklea, Linda Francis, Zipora Fried, Daniel Göttin, Julio Grinblatt, Billy Gruner, Terry Haggerty, Lynne Harlow, Gilbert Hsiao, Andrew Huston, Simon Ingram, Inverted Topology, Kyle Jenkins, Mick Johnson, Steve Karlik, Sarah Keighery, Andrew Leslie, Daniel Levine, Sylvan Lionni, Lotte Lyon, Gerhard Mantz, Rossana Martinez, Juan Matos Capote, Douglas Melini, Manfred Mohr, Salvatore Panatteri, Dirk Rathke, Karen Schifano, Analia Segal, Edward Shalala, Tilman, Li-Trincere, Jan van der Ploeg, Don Voisine, Douglas Witmer & Michael Zahn

Ongoing Performance
Bibi Calderaro: PRESENT
Thursdays, 1-4pm, and Saturdays, 12-3pm, in the P.S.1 Cafe

Gerold Miller, Julian Daspher, Daniel Göttin (l to r)

Tilman & Kyle Jenkins (l to r)

Justin Andrews, Ian Anüll, Julian Daspher, Stephen Bram,
Marco Fusinato, Victoria Munro, Matthew Deleget (l to r)

January 17 – February 21, 2009

A ten year survey of PS in Amsterdam, founded by artist Jan van der Ploeg.  The work shown in Groningen includes three new installations by Kyle Jenkins, Gerold Miller, and Daniel Göttin, as well as the work of 26 other international artists.

Participating Artists: Justin Andrews, Ian Anüll, Karina Bisch, Stephen Bram, Lars Breuer, Jessica Centner, DAG, Julian Dashper, Matthew Deleget, Gunther Förch, Sebastian Freytag, Marco Fusinato, Daniel Göttin, Michelle Grabner, Terry Haggerty, Kent Hanssen, Kyle Jenkins, Ben Judd, Jean Luc Manz, Gerold Miller, Paul Morrison, Guido Münch, Victoria Munro, John Nixon, Max Presneill, Marie Shannon, D.J. Simpson, Michal Skoda, & Tilman.

Exhibition poster

October 19, 2008 – May 4, 2009

(Daniel Göttin’s ceiling work in the cafe continues through summer 2009)

We are delighted to announce our exhibition at P.S.1 Contemporary Art Center, an affiliate of The Museum of Modern Art in New York. P.S.1 is one of the oldest and largest non-profit arts centers in the United States solely devoted to contemporary art.

The exhibition is curated by artist, Brooklyn Rail publisher, and P.S.1. Curatorial Advisor Phong Bui, and includes the work of 54 artists from 14 countries. The exhibition marks MINUS SPACE’s 5th anniversary.

We greatly thank curator Phong Bui and the remarkable staff at P.S.1, the participating artists and their galleries, and our generous donors, whose financial support made this exhibition possible.

Participating Artists
Soledad Arias, Shinsuke Aso, Marcus Bering, Hartmut Böhm, Richard Bottwin, Sharon Brant, Michael Brennan, Henry Brown, Vicente Butron, Bibi Calderaro, Melanie Crader, Mark Dagley, Julian Dashper, Christopher Dean, Matthew Deleget, Lynne Eastaway, Gabriele Evertz, Daniel Feingold, Kevin Finklea, Linda Francis, Zipora Fried, Daniel Göttin, Julio Grinblatt, Billy Gruner, Terry Haggerty, Lynne Harlow, Gilbert Hsiao, Andrew Huston, Simon Ingram, Inverted Topology, Kyle Jenkins, Mick Johnson, Steve Karlik, Sarah Keighery, Andrew Leslie, Daniel Levine, Sylvan Lionni, Lotte Lyon, Gerhard Mantz, Rossana Martinez, Juan Matos Capote, Douglas Melini, Manfred Mohr, Salvatore Panatteri, Dirk Rathke, Karen Schifano, Analia Segal, Edward Shalala, Tilman, Li-Trincere, Jan van der Ploeg, Don Voisine, Douglas Witmer & Michael Zahn

Ongoing Performance
Bibi Calderaro: PRESENT
Thursdays, 1-4pm, and Saturdays, 12-3pm, in the P.S.1 Cafe

Interview
MINUS SPACE: The Art of Reduction, by Phong Bui
P.S.1 Newspaper, Fall/Winter 2008

Press / Blogs
Drunkard’s Walk vs. PMU, Ethan Ham blog, December 18, 2008

MINUS SPACE at P.S.1 Contemporary Art Center / MoMA, Abstract Contemporary Art Blog, December 18, 2008

Top Ten 2008, by Jerry Saltz, Artnet Magazine, December 15, 2008 (MINUS SPACE is cited in #10)

The Year in Art: The Top Nine Shows (and One Event), by Jerry Saltz, New York Magazine, December 7, 2008 (MINUS SPACE is cited in #10)

Michael Brennan at 210 Gallery and P.S.1, by Paul Corio, November 16, 2008

Interview with Simon Ingram / MINUS SPACE exhibition at P.S.1, New York, Vernissage TV, November 10, 2008

MINUS SPACE, by Eva Lake, November 10, 2008

MINUS SPACE at P.S.1, The James Kalm Report, November 2, 2008

Update, Henri Art Magazine, November 1, 2008

Reductive Art at P.S.1, by Jon Meyer, October 25, 2008

Gallery Credits
Hartmut Böhm courtesy of Bartha Contemporary, London, UK
Richard Bottwin courtesy of Pentimenti Gallery, Philadelphia, PA; Metaphor Contemporary Art, Brooklyn, NY
Sharon Brant courtesy of Elizabeth Moore Fine Art, New York, NY
Melanie Crader courtesy of Gallery Sonja Roesch, Houston, TX
Mark Dagley courtesy of Abaton Garage, Jersey City, NJ
Julian Dashper courtesy of Esso Gallery, New York, NY
Matthew Deleget courtesy of Gallery Sonja Roesch, Houston, TX
Gabriele Evertz courtesy of Ober Gallery, Kent, CT
Daniel Feingold courtesy of Gabinete de Arte Raquel Arnaud, Sao Paolo, Brazil
Kevin Finklea courtesy of Margaret Thatcher Projects, New York, NY; Pentimenti Gallery, Philadelphia, PA
Daniel Göttin courtesy of Hebel_121, Basel, Switzerland
Julio Grinblatt courtesy of Ruth Benzacar Galeria de Arte, Buenos Aires, Argentina; Galeria Baro-Cruz, Sao Paulo, Brazil; Laura Marsiaj Arte Contemporanea, Rio de Janeiro, Brazil
Terry Haggerty courtesy of Andreas Grimm Gallery, New York, NY
Lynne Harlow courtesy of Cade Tompkins Editions, Providence, RI
Gilbert Hsiao courtesy of Gallery Sonja Roesch, Houston, TX
Andrew Huston courtesy of Elizabeth Moore Fine Art, New York, NY
Simon Ingram courtesy of Gow Langsford Gallery, Auckland, New Zealand
Mick Johnson courtesy of Gallery Sonja Roesch, Houston, TX
Steve Karlik courtesy of Anita Schwartz Galeria de Arte, Rio de Janeiro, Brazil
Andrew Leslie courtesy of Annandale Galleries, Sydney, Australia; John Buckley Gallery, Melbourne, Australia
Sylvan Lionni courtesy of Freight + Volume, New York, NY
Lotte Lyon courtesy of Aoyama Meguro, Tokyo, Japan
Rossana Martinez courtesy of Gallery Sonja Roesch, Houston, TX
Manfred Mohr courtesy of Bitforms Gallery, New York, NY
Dirk Rathke courtesy of Gallery Sonja Roesch, Houston, TX 
Analia Segal courtesy of DPM Gallery, Miami, FL; Guayaquil, Ecuador
Tilman courtesy of CCNOA center for contemporary non-objective art, Brussels, Belgium
Jan van der Ploeg courtesy of Aschenbach & Hofland Galleries, Amsterdam, The Netherlands
Don Voisine courtesy of Abaton Garage, Jersey City, NJ; McKenzie Fine Art, New York, NY
Michael Zahn courtesy of Eleven Rivington, New York, NY

Additional Credits
Poster & Flash Animation: Level Design Studio

Terry Haggerty, Side by Side 2, 2008
Acrylic on canvas on wood, 145 x 122 cm

August 29 — October 4, 2008

YOU SAID HE SAID SHE SAID is a group show of New York based artists whose work to date spans various media and who have enjoyed exploring space, senses, sensitivity and scenarios. The works selected for this show enjoy a common thread of lines, shapes and declinations thereof, weaving a combined presence and special depth as well as juxtaposition of repetition and consequence.  Participating artists: Beth Campbell, Ann Craven, Wayne Gonzales, Joanne Greenbaum, Terry Haggerty, Christian Marclay, John Tremblay.

March 20 — April 30, 2008

An exhibition examining pattern painting in the information age, featuring four NYC-based artists Henry Brown, Terry Haggerty, Gilbert Hsiao & Douglas Melini.

The title of the exhibition, Machine Learning, is inspired by a part of artificial intelligence concerned with the development of algorithms that allow computers to “learn”.   Machine learning recognizes patterns within massive sets of information and has a wide range of real-world applications, the most ubiquitous of which is the Internet search engine.

The exhibition Machine Learning examines the relationship between abstraction and the information age, and presents four artists making new forms of pattern-based painting. The exhibition raises multiple questions.  How has abstraction responded to the irresistible siren call of the Internet?  How has abstraction digested the appearance, logic, and behavior of the Internet?  And finally, with every conceivable kind of information now available at the click of a mouse, what are contemporary abstract artists’ core concerns?

The exhibition originated at The Boyden Gallery, St. Mary’s College of Maryland, St. Mary’s City, MD in September 2007, and then traveled to The Painting Center, New York, NY in December 2007. A color catalog accompanies the exhibition.

SUPPORT
Machine Learning is a sponsored project of the New York Foundation for the Arts.  The exhibition, tour, and catalog are made possible by grants from the Wolf Kahn & Emily Mason Foundation, The Golden Rule Foundation, and Louise & Anne Abrons Foundation.

PRESS
Machine Learning: Reductive artists get to the point, by Olivia Flores Alvarez, Houston Press, March 9, 2007
The Front Row: Machine Leaning at Gallery Sonja Roesch, Interview with Henry Brown, Matthew Deleget & Gilbert Hsiao, Houston Public Radio (KUHF.FM), April 24, 2008

An exhibition examining pattern painting in the information age, featuring four NYC-based artists Henry Brown, Terry Haggerty, Gilbert Hsiao & Douglas Melini, with a special project room installation by Michael Zahn. 

The title of the exhibition, Machine Learning, is inspired by a part of artificial intelligence concerned with the development of algorithms that allow computers to “learn”.   Machine learning recognizes patterns within massive sets of information and has a wide range of real-world applications, the most ubiquitous of which is the Internet search engine.

The exhibition Machine Learning examines the relationship between abstraction and the information age, and presents four artists making new forms of pattern-based painting. The exhibition raises multiple questions.  How has abstraction responded to the irresistible siren call of the Internet?  How has abstraction digested the appearance, logic, and behavior of the Internet?  And finally, with every conceivable kind of information now available at the click of a mouse, what are contemporary abstract artists’ core concerns?

The exhibition will later travel to Gallery Sonja Roesch in Houston, TX.  A catalog accompanied the exhibition.

SUPPORT
Machine Learning is a sponsored project of the New York Foundation for the Arts.  The exhibition, tour, and catalog are made possible by grants from the Wolf Kahn & Emily Mason Foundation, The Golden Rule Foundation, and Louise & Anne Abrons Foundation.

PRESS
Intelligent Design, by John Goodrich, New York Sun, December 27, 2007

July 15 — January 6, 2008

Terry Haggerty’s vibrant wall paintings conjure nostalgic associations from the mustard yellow and avocado décor of the 1960s and 1970s, to optical art, to the precise lines of sugar icing on pastries. He combines humorous and historical references to form abstract compositions that electrify and manipulate the space around them. Haggerty applies multiple coats of paint to create sleek surfaces and utilizes simple lines which, when viewed together, create masterful geometries that seem to blend and curve each wall.

An exhibition examining pattern painting in the information age, featuring four NYC-based artists Henry Brown, Terry Haggerty, Gilbert Hsiao & Douglas Melini.

The title of the exhibition, Machine Learning, is inspired by a part of artificial intelligence concerned with the development of algorithms that allow computers to “learn”. Machine learning recognizes patterns within massive sets of information and has a wide range of real-world applications, the most ubiquitous of which is the Internet search engine.

The exhibition Machine Learning examines the relationship between abstraction and the information age, and presents four artists making new forms of pattern-based painting. The exhibition raises multiple questions. How has abstraction responded to the irresistible siren call of the Internet? How has abstraction digested the appearance, logic, and behavior of the Internet? And finally, with every conceivable kind of information now available at the click of a mouse, what are contemporary abstract artists’ core concerns?

The exhibition will later travel to New York and Houston. A color catalog accompanies the exhibition

SUPPORT
Machine Learning is a sponsored project of the New York Foundation for the Arts. The exhibition, tour, and catalog are made possible by grants from the Wolf Kahn & Emily Mason Foundation, The Golden Rule Foundation, and Louise & Anne Abrons Foundation.

Terry Haggerty and his able-handed assistant, his father

Wallpaper covers the creation of Terry Haggerty’s new wall painting at Munich Re’s offices in London.  Includes a brief interview with the artist and photos of his process from start to finish.

April 26-29, 2007

April 24 — May 2, 2007 

Whiteout is a public art project consisting of 500 lightboxes spread throughout the city of Dusseldorf, Germany.  Features artists Jes Wind Andersen, Lars Breuer, Sebastian Freytag, Terry Haggerty, Jan Kämmerling, Guido Münch, Jörg Nittenwilm and Hannes Norberg.