Alvin Loving (1935 – 2005) once described geometric shape as “a sort of mundane form that could be very, very dull unless a great deal was done with it.” For him, however, geometry ultimately became an arena in which to develop a dramatic color sensibility. Juxtaposing neon-bright pigments, in Septehedron 34 (1970) he created the illusion that the painting’s forms recede or advance relative to one another. At the same time, his use of geometric forms emphasized the flat surface of the canvas, from which a tension emerges between real and imagined space. Also notable for its visible brush stocks, Loving’s shaped canvas takes up the challenge of making all seven sides of a heptahedron visible at once.
In 1969, Alvin Loving became the first African American artist to have a solo exhibition at the Whitney Museum.
Photographed as Part of the Exhibit Spilling Over: Painting Color in the 1960s, On View Through August 31st, 2019 at the Whitney Museum in NYC.
Untitled (To Barry, Mike, Chuck and Leonard) 1972 – 1975 (All Photos By Gail)
Dan Flavin (April 1, 1933 – November 29, 1996) was an American minimalist artist famous for creating gorgeous sculptural objects and installations from commercially available fluorescent light fixtures. David Zwirner Gallery which represents Flavin’s estate, is currently hosting an exhibition of the artist’s significant Corner, Barrier and Corridor works from the late 1960s and early 1970s at its West 20th Street in New York. This is a must-see exhibit.
The exhibition at David Zwirner examines how Flavin established and redefined space through light constructions in three formats that were at the core of his practice. The artist’s “corner,” “barrier” and “corridor” works explicitly implicate their surrounding architecture while physically mediating the viewers’ experience and perception of space.
Above and Below: Untitled (to Sonja), 1969
Among the works on view will be a notable two-part Barrier in yellow and green dedicated to his wife, Untitled (to Sonja), 1969, which was first shown as Flavin’s contribution to the significant group exhibition Spaces at The Museum of Modern Art, New York, in 1969-70.
Flavin’s installation comprised rectangular units of colored fluorescent tubes that formed two interior barriers that begin in the corners of the entrance wall and extend to the far end of the room, altering space with colored light and physically modifying the visitors’ experience of the room. This will be the first time it has been shown since the MoMA exhibition.
Also in the exhibition is a rare barrier that shines white fluorescent light into an empty room while rendering it inaccessible: Untitled (to Dorothy and Roy Lichtenstein on not seeing anyone in the room), 1968. This piece was first shown at the Dwan Gallery, New York, in 1968 and has not been exhibited since 1970. The work’s title makes reference to a 1961 painting by Roy Lichtenstein entitled I Can See The Whole Room!…And There’s Nobody in It!
A Corridor in Yellow and Pink fluorescent light from 1972-75, Untitled (to Barry, Mike, Chuck and Leonard), will also be presented. The work divides an architectural passageway into two mutually inaccessible, obstructed fields of color and light, playing on the viewers’ cognitive and physical perception of distinctly colored, opposite ends of the same space.
The show will also feature a room devoted to a sequence of four related corner constructions dedicated to the artist Barnett Newman: Untitled (to Barnett Newman) one-four, 1971, which highlight the four corners of the room by serially investigating the same rectangular form in different configurations of yellow, red, and blue fluorescent light. These works have not been on view in the United States since their first presentation in Flavin’s 1971 solo exhibition at the Dwan Gallery, New York.
Another work in the exhibition features the artist’s less-known use of circular light fixtures: Untitled (to a man, George McGovern) 2, from 1972, succinctly illuminates the corners of a given space in its wall-mounted triangular construction of warm white circular lamps.
Dan Flavin, Corners, Barriers and Corridors will be on Exhibit Through October 24th, 2015 at David Zwirner Gallery, Located at 537 West 20th Street in the Chelsea Gallery District.
Here’s a cool photo I took of sculptor Christian Haub’s Float for Vence, (2014, Cast Acrylic Sheet, 36 x 36 x 3 1/2 inches ), on display at Kathryn Markel Fine Arts located at 529 West 20th, Suite 6W, in the Chelsea Gallery District. This lovely piece can be yours for the asking price of $10,000.
Painted Mirror By Martin Durazo (All Photos By Gail)
Altered States at C24 Gallery is an exhibition featuring the work of two Los Angeles based artists, Martin Durazo and Ryan Perez. The title of the exhibition refers to creating an altered state of reality through a narrative visualized by light, line, dimension and color. As you can see, these artists deal specifically with each of these qualities in their respective paintings.
Martin Durazo paints on both canvases and mirrors using fluorescent colors and bold brush strokes. The artist explains, “I find it fascinating that these colors are in vogue fashion-wise. I also feel that they have a relationship to punk and new wave music of the ‘70s and ‘80s, my coming–of-age years.” Mine too, Martin!
Here’s another painted Mirror. I really like this one.
Durazo’s use of neon paint and metallic suggests both a hyper reality and black light illumination. Transcendental in nature, the works presented in Altered States are a part of a continuing body of work that explores the spiritual aspects of lurid and elicit behavior. The visual result is colorful and instantly attractive – it’s audacious and at times flashy, yet always loaded with complex symbolism and stratified references.
I met the lady pictured above at the opening reception on September 11th, and her dress reminded me so much of the colors in Martin Durazo’s paintings that I asked if she would pose with them. Also, I was a teeny, tiny bit drunk.
Above is partial installation shot a selection of Ryan Perez’s works that you see as soon as you enter the gallery. His work integrates computer generated and hand painted elements in artist frames, which are configured to trick the eye of the viewer, merging the real and digital world.
In describing his work, Perez writes, “As an image-maker, I can’t help but contemplate how the majority of the visual world we experience is constructed through a series of identity systems via graphic design…” Interesting, and so true!
I really enjoyed this exhibit, and the people at C24 are always very nice, so I recommend you add Altered States to your list of shows to check out over the next few weeks.
Altered States Runs Through October 25th, 2014 at C24 Gallery, Located at 514 West 24th Street, in the Chelsea Gallery District.
Does This Teddy Bear Remind You Of Anything? (All Photos By Gail)
If you pay attention to global pop culture, then you’ve probably heard of the Japanese Harajuku style and Kawaii (Cuteness) culture, where the adorable has an undercurrent of rebellious edge. For just a short time you can immerse yourself in a kind of Cuteness Overload at Tokyo-based Artist and Fashion Designer Sebastian Masuda’s Colorful Rebellion (Seventh Nightmare) installation, through March 29thonly at Kianga Ellis Projects. Geoffrey and I paid the space a visit yesterday and it was positively disorienting.