Reductive Painting

Josef Albers, Albers/Albums, Minus Space, Brooklyn, New York, December 10 - January 30, 2010

2010-01-09T19:07:00.001+01:00

Click here for Minus Space
Click here for Albers/Albums
Click here for Brooklyn Rail exhibition review
Click here for Josef Albers

Mostly Monochrome, McKenzie Fine Art, New York, NY, January 7 - February 6, 2010

2010-01-09T18:46:00.027+01:00

Matthew Deleget, Berndt Friberg and Palshus, Karen Gunderson, James Lecce, Daniel Levine, David Mann, Ursula Morley Price, Bil Thompson, Li Trincere, Peter Weber, Carrie Yamaoka

Matthew Deleget

Li Trincere

Daniel Levine

David Mann

Malene Landgreen, Color State, Kunsthal Charlottenborg, Copenhagen, Denmark, December 5, 2009 - February 21, 2010

2010-01-09T18:43:00.014+01:00

Click here for Malene Landgreen

Visual Discrepencies; Conversations

2009-12-22T11:33:00.042+01:00

An ongoing series of interviews by artist Brent Hallard from his blog.

Click here for Conversation with Don Voisine (above)

Click here for Conversation with Linda Francis (above)

Click here for Conversation with Richard van der Aa (above)

Click here for Conversation with Mel Priest (above)

Click here for conversation with Henriette van't Hoog (above)

Click here for Conversation with Alan Ebnother (above)

Click here for Conversation with Tim McFarlane (above)

Click here for Conversation with Patricia Zarate (above)

Click here for Conversation with Linda Arts (above)

Click here for Conversation with Devin Powers (above)

Click here for Conversation with Lynne Harlow (above)

Click here for Conversation with Kasarian Dane (above)

Click here for Conversation with Richard Roth (above)

Dieter Balzer, Gallery Sonja Roesch, Houston, TX, November 7, 2009 - January 2, 2010

2009-12-21T11:01:00.007+01:00

Click here for Gallery Sonja Roesch
Click here for the website of Dieter Balzer

Review from Artforum:
Precision in reductive-themed art is not merely essential but also the means and the end of such work. Dieter Balzer’s recent exhibition on view at Gallery Sonja Roesch exemplifies the genre’s correlation between presentation and execution. His elegantly constructed, wall-mounted linear sculptures are a delight. Brightly colored monochromatic bars overlap, intertwine, and obfuscate in prescribed rhythms that uniquely balance each piece. The artist displays an understanding of the logic of randomness, as it were, in that his creations hold steady to a purpose that is self-contained—playfully executing their own systemic patterning with grace and authority. Balzer exemplifies a mature understanding of spatial depth, both illusory and real, that makes the complicated works appear at once effortless and fully realized. References from Sol LeWitt to Jo Baer come to mind but fail to fully capture Balzer’s unique configurations, which have freshness apart from historical precedent. The wise decision to include relatively few forms in the show strengthens the presence of the artworks—each of which displays its own syncopated trajectory.

— Garland Fielder

At 94, She’s the Hot New Thing in Painting

2009-12-21T10:35:00.003+01:00

Carmen Herrera

Click here for images of work

Deborah Sontag
New York Times
December 19, 2009

Under a skylight in her tin-ceilinged loft near Union Square in Manhattan, the abstract painter Carmen Herrera, 94, nursed a flute of Champagne last week, sitting regally in the wheelchair she resents.

After six decades of very private painting, Ms. Herrera sold her first artwork five years ago, at 89. Now, at a small ceremony in her honor, she was basking in the realization that her career had finally, undeniably, taken off. As cameras flashed, she extended long, Giacomettiesque fingers to accept an art foundation’s lifetime achievement award from the director of the Walker Art Center in Minneapolis.

Her good friend, the painter Tony Bechara, raised a glass. “We have a saying in Puerto Rico,” he said. “The bus — la guagua — always comes for those who wait.”

And the Cuban-born Ms. Herrera, laughing gustily, responded, “Well, Tony, I’ve been at the bus stop for 94 years!”

Since that first sale in 2004, collectors have avidly pursued Ms. Herrera, and her radiantly ascetic paintings have entered the permanent collections of institutions like the Museum of Modern Art, the Hirshhorn Museum and the Tate Modern. Last year, MoMA included her in a pantheon of Latin American artists on exhibition. And this summer, during a retrospective show in England, The Observer of London called Ms. Herrera the discovery of the decade, asking, “How can we have missed these beautiful compositions?”

In a word, Ms. Herrera, a nonagenarian homebound painter with arthritis, is hot. In an era when the art world idolizes, and often richly rewards, the young and the new, she embodies a different, much rarer kind of success, that of the artist long overlooked by the market, and by history, who persevered because she had no choice.

“I do it because I have to do it; it’s a compulsion that also gives me pleasure,” she said of painting. “I never in my life had any idea of money and I thought fame was a very vulgar thing. So I just worked and waited. And at the end of my life, I’m getting a lot of recognition, to my amazement and my pleasure, actually.”

Julián Zugazagoitia, the director of El Museo del Barrio in East Harlem, called Ms. Herrera “a quiet warrior of her art.”

“To bloom into full glory at 94 — whatever Carmen Herrera’s slow rise might say about the difficulties of being a woman artist, an immigrant artist or an artist ahead of her time, it is clearly a story of personal strength,” Mr. Zugazagoitia said.

A minimalist whose canvases are geometric distillations of form and color, Ms. Herrera has slowly come to the attention of a subset of art historians over the last decade. . Now she is increasingly considered an important figure by those who study her “remarkably monumental, iconic paintings,” said Edward J. Sullivan, a professor of art history at New York University.

“Those of us with a passion for either geometric art or Latin American Modernist painting now realize what a pivotal role” Ms. Herrera has played in “the development of geometric abstraction in the Americas,” Mr. Sullivan said.

Painting in relative solitude since the late 1930s, with only the occasional exhibition, Ms. Herrera was sustained, she said, by the unflinching support of her husband of 61 years, Jesse Loewenthal. An English teacher at Stuyvesant High School in Manhattan, Mr. Loewenthal was portrayed by the memoirist Frank McCourt, a colleague, as an old-world scholar in an “elegant, three-piece suit, the gold watch chain looping across his waistcoat front.”

Recognition for Ms. Herrera came a few years after her husband’s death, at 98, in 2000. “Everybody says Jesse must have orchestrated this from above,” Ms. Herrera said, shaking her head. “Yeah, right, Jesse on a cloud.” She added: “I worked really hard. Maybe it was me.”

In a series of interviews in her sparsely but artfully furnished apartment, Ms. Herrera always offered an afternoon cocktail — “Oh, don’t be abstemious!” — and an outpouring of stories about prerevolutionary Cuba, postwar Paris and the many artists she has known, from Wifredo Lam to Yves Klein to Barnett Newman.

“Ah, Wifredo,” she said, referring to Lam, the Cuban-born French painter. “All the girls were crazy about him. When we were in Havana, my phone would begin ringing: ‘Is Wifredo in town?’ I mean, come on, I wasn’t his social secretary.”

But Ms. Herrera is less expansive about her own art, discussing it with a minimalism redolent of the work. “Paintings speak for themselves,” she said. Geometry and color have been the head and the heart of her work, she added, describing a lifelong quest to pare down her paintings to their essence, like visual haiku.

Asked how she would describe to a student a painting like “Blanco y Verde” (1966) — a canvas of white interrupted by an inverted green triangle — she said, “I wouldn’t have a student.” To a sweet, inquiring child, then? “I’d give him some candy so he’d rot his teeth.”

When pressed about what looks to some like a sensual female shape in the painting, she said: “Look, to me it was white, beautiful white, and then the white was shrieking for the green, and the little triangle created a force field. People see very sexy things — dirty minds! — but to me sex is sex, and triangles are triangles.”

Born in 1915 in Havana, where her father was the founding editor of the daily newspaper El Mundo, and her mother a reporter, Ms. Herrera took art lessons as a child, attended finishing school in Paris and embarked on a Cuban university degree in architecture. In 1939, midway through her studies, she married Mr. Loewenthal and moved to New York. (They had no children.)

Although she studied at the Art Students League of New York, Ms. Herrera did not discover her artistic identity until she and her husband settled in Paris for a few years after World War II. There she joined a group of abstract artists, based at the influential Salon of New Realities, which exhibited her work along with that of Josef Albers, Jean Arp, Sonia Delaunay and others.

“I was looking for a pictorial vocabulary and I found it there,” she said. “But when we moved back to New York, this type of art” — her less-is-more formalism — “was not acceptable. Abstract Expressionism was in fashion. I couldn’t get a gallery.”

Ms. Herrera said that she also accepted, “as a handicap,” the barriers she faced as a Hispanic female artist. Beyond that, though, “her art was not easily digestible at the time,” Mr. Zugazagoitia said. “She was not doing Cuban landscapes or flowers of the tropics, the art you might have expected from a Cuban émigré who spent time in Paris. She was ahead of her time.”

Over the decades, Ms. Herrera had a solo show here and there, including a couple at museums (the Alternative Museum in 1984, El Museo del Barrio in 1998). But she never sold anything, and never needed, or aggressively sought, the affirmation of the market. “It would have been nice, but maybe corrupting,” she said.

Mr. Bechara, who befriended her in the early 1970s and is now chairman of El Museo del Barrio, said that he regularly tried to push her into the public eye, even though she “found a kind of solace in being alone.”

One day in 2004, Mr. Bechara attended a dinner with Frederico Sève, the owner of the Latin Collector Gallery in Manhattan, who was dealing with the withdrawal of an artist from a much-publicized show of female geometric painters. “Tony said to me: ‘Geometry and ladies? You need Carmen Herrera,’ ” Mr. Sève recounted. “And I said, ‘Who the hell is Carmen Herrera?’ ”

The next morning, Mr. Sève arrived at his gallery to find several paintings, just delivered, that he took to be the work of the well-known Brazilian artist Lygia Clark but were in fact by Ms. Herrera. Turning over the canvases, he saw that they predated by a decade paintings in a similar style by Ms. Clark. “Wow, wow, wow,” he recalled saying. “We got a pioneer here.”

Mr. Sève quickly called Ella Fontanals-Cisneros, a collector who has an art foundation in Miami. She bought five of Ms. Herrera’s paintings. Estrellita Brodsky, another prominent collector, bought another five. Agnes Gund, president emerita of the Museum of Modern Art, also bought several, and with Mr. Bechara, donated one of Ms. Herrera’s black-and-white paintings to MoMA.

The recent exhibition in England, which is now heading to Germany, came about by happenstance after a curator stumbled across Ms. Herrera’s paintings on the Internet. Last week The Observer named that retrospective one of the year’s 10 best exhibitions, alongside a Picasso show and one devoted to the American Pop artist Ed Ruscha.

Ms. Herrera’s late-in-life success has stunned her in many ways. Her larger works now sell for $30,000, and one painting commanded $44,000 — sums unimaginable when she was, say, in her 80s. “I have more money now than I ever had in my life,” she said.

Not that she is succumbing to a life of leisure. At a long table where she peers out over East 19th Street “like a French concierge,” Ms. Herrera, because she must, continues to draw and paint. “Only my love of the straight line keeps me going,” she said.

Hartmut Böhm, Bartha Contemporary, London, England, December 4 - January 17, 2009

2009-12-18T18:09:00.002+01:00

Click here for Bartha Contemporary
Click here for the website of Hartmut Böhm

Gracia Khouw en Elisabeth Soneck, Galerie Hein Elferink, Staphorst, Netherlands, October 24-December 5, 2009

2009-12-18T17:50:00.004+01:00

Click here for the website of Galerie Hein Elferink
Click here for the website of Gracia Khouw
Click here for the website of Elisabeth Sonneck

Elisabeth Sonneck

Gracia Khouw

Planes of Abstraction, Center for Maine Contemporary Art, Rockport, Maine, October 14 - December 19, 2009

2009-12-01T10:47:00.003+01:00

Don Voisine, Winston Roeth, Scott Davis, Jeff Kellar, and Duane Paluska

Simple and distinct
Solid, serious abstractions at CMCA
By KEN GREENLEAF | November 11, 2009

“Planes of Abstraction” at the Maine Center for Contemporary Art brings together five artists with broad experience who share a common interest in a simplified image. They are otherwise quite different from one another in their purposes and methods. The artists are Don Voisine, Winston Roeth, Scott Davis, Jeff Kellar, and Duane Paluska.

In Voisine’s “Veer,” two broad, nearly black shapes cross each other in the space between two narrow lines of yellow ochre along the painting’s top and bottom borders. The black masses create a sense that the painting is an object. That’s an illusion, of course, and as you look at the painting the feeling of mass conflicts with the plain fact that these are large areas of paint, creating an expressive tension. Of all the works in the show, Voisine’s are the most abstract, in that they exist as a statement outside any concrete reality or rhetorical reference.

Roeth’s paintings, by contrast, are not conceptually abstract at all. Here he shows three distinct modes: “Split Blue Square,” two related blue rectangular panels hung one over the other; “Savannah Moon,” a square dark painting with a few concentric circles; and “Sorcerer,” 12 slate roofing shingles hung in a three-by-four grid, each painted a different color.

Roeth’s works are primarily about light. The two halves of “Split Blue Square” are distinguished not so much by their color as by the light emanating from them — their moods are distinct, and it makes gives them an expressive shimmer. Even in “Sorcerer,” where the chipped edges of the slates and holes for the mounting nails are make it clear they are mundane objects, the overall effect is one of opulent light radiating from some inner source.

Davis’s paintings are images that refer to something other than the work itself. He creates a scene whose content is spare but hints at some reality outside normal experience. “Parapet” is a field of blue with a geometric yellow shape along its bottom border that resembles a parapet as seen from below. But something is off — the perspective seems right, but isn’t, quite. It’s as if the painting was correct and our normal notions of perspective don’t apply. Davis is subtly bringing us into his own universe with its own rules, while providing us with a semiotic sign we can’t quite grasp.

Kellar’s works are almost non-corporeal, the opposite of Voisine’s. They are done with a special coating on aluminum and seem to float in space an inch off the wall. This is a deliberate strategy — he’s gone to great lengths to direct the viewer’s attention away from seeing it as a painting and toward his actual content, which is the interplay of a subtle surface with line or color. In “Folded” the upper third of the painting is red, the bottom is white, and there’s a shallow angle in the border between them. It feels a little folded; the tension between that illusion and the soft, tangible surface is central to his work.

Paluska’s painted wood sculptures are more complex. The linear elements of his constructions join at angles that render them slightly skewed away from where familiar perspective would put them if they were, say, a chair tipped over. In “Blue Moon” a flat segment of a circle is held vertically on wooden framework. As you walk around the piece you see its edge as it aligns, and then doesn’t, with the angles of the structure. The effect is a subtle dimensional unfolding and refolding and unfolding again.

It’s an uncommon treat, in these parts, to see a show of the work of highly accomplished, veteran abstract artists gathered into one room. Much of what we see today is shallow, noisy, and meant to overwhelm for a moment. These works are quiet, focused, and deep enough to reward close attention and extended thought.

Censored Inquiries, 210 Gallery, Brooklyn, NY, November 14 - December 20 2009

2009-11-29T15:20:00.001+01:00

Linda Francis, Joan Waltemath, Mark Williams

Susanne Jung, Rolf Rose, Don Voisine, pp projects, Hamburg, Germany

2009-11-29T14:59:00.004+01:00

Click here for Don Voisine
Click here for Susanne Jung
Click here for Rolf Rose

Susanne Jung

Don Voisine

Rolf Rose

Reflecties, Scheltema, Leiden, Netherlands, November 29, 2009 - January 3, 2010

2009-11-25T01:46:00.000+01:00

Germaine Kruip, Milou Rabe, Jan Maarten Voskuil, Guido Winkler

Last Post (at least for awhlie)

2009-11-06T09:30:00.005+01:00

I am downscaling the listings portion of Reductive Painting to concentrate on The Perceptual Observer. Please refer to Minus Space for current updates on reductive painting exhibitions worldwide.

I will continue to update the listing of artists' websites on this blog from time to time.

Thanks for looking.

Don Voisine, Gregory Lind Gallery, San Francisco, CA, November 4-December 23, 2009

2009-11-06T09:05:00.004+01:00

Click here for Gregory Lind Gallery

Color-Time-Space, Janet Kurnatowski, Brooklyn, NY, September 10-October 11, 2009

2009-10-03T16:24:00.009+01:00

Curated by Joanne Freeman and Kim Uchiyama

Click here for Janet Kurnatowski

James Biederman, Laurie Fendrich, Joanne Freeman, Julie Gross, Ben LaRocco, Gary Petersen, Kazimira Rachfal, Jennifer Riley, Yvonne Thomas, Kim Uchiyama, Stephen Westfall, Thornton Willis, Kevin Wixted

Gary Petersen

Color-Time-Space, Lohin Geduld Gallery, New York, NY, September 10-October 11, 2009

2009-10-03T16:12:00.007+01:00

Curated by Joanne Freeman and Kim Uchiyama

Click here for Lohin Geduld Gallery

James Biederman, Laurie Fendrich, Joanne Freeman, Julie Gross, Ben LaRocco, Gary Petersen, Kazimira Rachfal, Jennifer Riley, Yvonne Thomas, Kim Uchiyama, Stephen Westfall, Thornton Willis, Kevin Wixted

Stephen Westfall

Daniel Göttin, PIT, Tillburg, Netherlands, September 26-October 4, 2009

2009-10-03T16:03:00.003+01:00

Click here for PIT
Click here for Daniel Göttin

Giles Ryder, CCNOA, Brussels, Belgium, September 3 - October 4, 2009

2009-10-03T15:51:00.003+01:00

Click here for Giles Ryder
Click here for more on Center for Contemporary Non Objective Art

Click here for Giles Ryder

Open House for Butterfiles, Minus Space, Brooklyn, NY, July 31-August 29, 2009

2009-08-11T07:05:00.000+01:00

Blue, James Graham & Sons, New York, NY, June 16-August 28, 2009

2009-08-10T23:51:00.003+01:00

Richmond Burton, Rudolf de Crignis, Joe Fyfe, Wayne Gonzales, James Hyde, Daniel Levine, Nancy Lorenz, Olivier Mosset, James Nares, R.H. Quaytman, Kate Shepherd, Amy Sillman, Kimber Smith, Philip Taaffe, Dan Walsh

Daniel Levine

Giles Ryder, Le Petit Port, Leiden, Netherlands, June 28-August 16. 2009

2009-08-10T23:41:00.004+01:00

Click here for the work of GIles Ryder

Personal Space, Paris Concret, Paris, France, June, 2009

2009-08-01T00:10:00.000+01:00

Henriëtte van't Hoog, Richard Roth, Brent Hallard

http://www.parisconcret.org/

Richard Roth

Henriëtte van't Hoog

Brent Hallard

Kosmos, IS Projects, Leiden, The Netherlands, June 6-July 5, 2009

2009-05-12T07:18:00.009+01:00

Brent Hallard, José Heerkens, Gilbert Hsiao, Caroline de Lannoy and Giles Ryder

Caroline DeLannoy

Giles Ryder

Formeel 2009-6, Museum Waterland, Pumerend, Netherlands, May 7-June 14, 2009

2009-05-12T04:52:00.007+01:00

Sander Boeijink, Sanne Bruggink, Henriëtte van 't Hoog

Sanne Bruggink

Henriëtte van 't Hoog

Exposanten Raster en Ritueel, Gorinchem, Netherlands, April 26-May 24, 2009

2009-05-12T04:36:00.006+01:00

Sanne Bruggink, Cor van Dijk, Frans Vendel, Go de Graaf, Jerry Keizer, Tonneke Sengers, and Henk van Gerner

Frans Vendel

Go de Graaf

Terry Haggerty, CCNOA, Brussels, Belgium, May 8-June 24, 2009

2009-05-12T02:31:00.001+01:00

For the website of Terry Haggerty, click here

Milan Dobeš, Komart Gallery, Bratislava, Slovak Republic, April 23-May 23, 2009

2009-05-11T23:23:00.005+01:00

For Komart Gallerly, click here
For Milan Dobeš Museum, click here

Don Voisine, McKenzie Fine Art, New York, NY, April 30-May 30, 2009

2009-05-08T12:04:00.000+01:00

For more paintings of Don Voisine, click here
For the website of McKenzie Fine Art, click here

Guido Winkler, "L’objet de la Peinture", ParisCONCRET, April 25-May 16, 2009,

2009-04-14T07:20:00.008+01:00

For Guido Winkler, click here
For ParisCONCRET, click here

Leon Berkowitz, "Cathedral Paintings," Gary Snyder Projects, New York, NY, March 6-May 2, 2009

2009-04-12T11:10:00.008+01:00

For Gary Snyder Art, click here
For interview with Smithsonian Institute, click here

Ann Edholm,"At the Back of Silence," Nordenhake, Berlin, Germany, March 7-Aptil 25, 2009

2009-04-12T10:27:00.001+01:00

For Galerie Nordenhake, click here.
For more on Ann Edholm, click here.

Color Exchange, Metaphor Contemporary, Brooklyn, NY, March 27-April 26, 2008

2009-03-20T11:52:00.008+01:00

Gabriele Evertz, Julian Jackson, Susanne Jung, Gabriele Schade-Hasenberg

Julian Jackson

Arne Schreiber, Galerie Weisser Elefant, Berlin, Germany, March 21-April 25, 2009

2009-03-20T11:48:00.003+01:00

Linda Francis, Don Voisine, Joan Waltemath, Michael Zahn; Janet Kurnatowski Gallery, New York, NY, March 27-April 26

2009-03-03T19:28:00.007+01:00

Linda Francis, Don Voisine, Joan Waltemath, Michael Zahn
For Janet Kurnatowski Galeria, click here

Joan Waltemath

Ellsworth Kelly, "Diagonal," Matthew Marks Gallery, New York, NY, February 6-April 11, 2009

2009-03-03T02:04:00.002+01:00

For images of this show, click here

Taney Roniger, "Stones and Ciphers", Slate Gallery, Brooklyn, NY, March 7-April 26, 2009

2009-03-03T01:53:00.005+01:00

For the website of Taney Roniger, click here
For Slate Gallery, click here

Dieter Balzer, "Roxxy & Elsewhere," Art Studio 1, Deinste, Germany, February 25-April 9, 2009

2009-03-02T19:16:00.003+01:00

For Dieter Balzer, click here
For Art Studio 1, click here

John Allen, M-55 Art, Long Island City, NY, January 29-February 15, 2009

2009-02-06T12:51:00.006+01:00

Color Exchange; Galerie Parterre, Berlin, Germany, January 29, 2009-March 1, 2009

2009-02-04T00:51:00.004+01:00

Gabriele Evertz, Julian Jackson, Susanne Jung, Gabriele Schade-Hasenberg

Julian Jackson

Gabriele Schade-Hassenberg

Susanne Jung

Gabriele Evertz

Neo-Minimalism; The Triangle Gallery, Calgary, Alberta, January 9 - February 25, 2009

2009-01-24T06:11:00.003+01:00

David Burdeny, Marjan Eggermont, Eve Leader, Laurel Smith, Christopher Willard, Paul Kuhn, Time Zuck, Catherine Burgess, Tanya Rusnak

Christopher Willard

Monochrome Utopia, 532 Gallery, New York, NY, January 8-January 30, 2009

2009-01-24T04:42:00.004+01:00

Sharon Brant, Matthew Deleget, Daniel Levine, Olivier Mosset, Erik Saxon, Li Trincere

Daniel Levine

Pour Fair Simple, ParisCONCRET, January 17-February 7, 2009 Paris, Frane

2009-01-12T08:21:00.011+01:00

For more information, click here
Pam Aitken, Daniel Argyle, Roger Bensasson, Joël Besse, Sanne Bruggink, Carola Bark, Christopher Dahlhausen, Julian Daspher, René Eicke, Billy Gruner, Brent Hallard, Hirosh Harada, Tony Harding, José Heerkens, Sarah Keighery, Iréne Kivinen, Vaclav Krucek, Arjan Janssen, Kate Mackaky, Aldo Mengolin, Simon Morris, Antonie Neien, Roland Orépük, Charles Payan, Jacek Przybyszewski, Paul Raguenes, Alexandra Roozen, Malrene Sarroff, Clary Stolte, Bogmila Strojna, John Tallman, Richard van der Aa, Lemke Van Dijk, Jacques Weyer, Guido WInkler

Roger Bensasson

Linear Abstraction, McKenzie Fine Art, New York, NY, January 8, 2008 - February 7, 2009

2008-12-21T11:03:00.004+01:00

Mark Dagley, Gilbert Hsiao, Maureen McQuillan, Gelah Penn, Gary Petersen, and Mary Temple

John Guthrie, FP3, Boston, Massachusetts, October 17, 2008 - January 10, 2009

2008-12-21T09:08:00.004+01:00

Click here for the website of John Guthrie
Click here for the website of FP3

Counterpoints, Robischon Gallery, Denver, CO, December 6, 2008 - January 24, 2009

2008-12-20T23:19:00.017+01:00

Reed Danzinger, Gene Davis, Chris Gallagher, Robert Mangold, Judy Pfaff, Pat Steir, Don Voisine, Dan Walsh

Click here for images of work in this show

Click here for the website of Robischon Gallery

Gene Davis

Chroma, Adelphi University, Garden City, NY, December 7, 2008 - January 15, 2009

2008-12-20T12:14:00.013+01:00

Amanda Church, Peter Drake, David Humphrey, Mark Pomilio, Jennifer Maloney, Carson Fox, Sharon Louden, Erin O’Keefe, Sarah Peter, Gary Petersen, Jean Shin, James Siena, and Jennifer Coates.

Gary Petersen

Kerstin Gnauck, Heidrichs Kunsthandlung, Berlin, Germany, December 13, 2007 - January 24, 2009

2008-12-15T08:38:00.005+01:00

Click here for the website of Kerstin Gnauck

Click here for the website of Heidrichs Kunsthandlung

Günter Umberg, Galerie Nordenhake, Berin, Germany, November 29 - January 17, 2009

2008-12-15T08:37:00.006+01:00

Click here for website of Galerie Nordenhake

Gegenstandslos, Gesellschaft für Kunst und Gestaltung, Bonn, Germany, October 25 - December 14, 2008

2008-12-15T08:31:00.007+01:00

Click here for list of participating artist.

Dieter Balzar

Galerie Teufel, New DVD Release by Christian Asbach

2008-12-15T08:30:00.003+01:00

Great new documentary featuring the late gallerist Heinz Teufel and artists Horst Bartnig, Manfred Mohr, Andreas Brandt and Zdenek Sykora.
Click here for trailer
For information, contact galerie-teufel@rekordproduktion.de

Max Bill: Das Absolute Augenmass, New Documentary Film

2008-12-15T08:29:00.002+01:00

Click here for the home homepage of this film (in Enligh, German and French). The home page includes a detailed synopsis (essential for those of us who don't understand German) and a trailer.

Minus Space, PS 1 Contemporary Art Center, MoMA, Long Island City, NY, October 19, 2008-January 19, 2009

2008-12-13T15:40:00.006+01:00

Curated by Phong Bui, publisher Brooklyn Rail

For Minus Spacem and links to most of the artists below, click here

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, Kyle Jenkins, Mick Johnson, Steve Karlik, Sarah Keighery, Danny Lacy, 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

Matthew Deleget

Yo, Mo Modernism 2, Center for Contemporary Non Objective Art, Brussels, Belgium, December 2008

2008-12-12T10:40:00.002+01:00

For more information click here

Justin Andrews (AU), Karina Bisch (FR), Krysten Cunningham (US), Ward Denys (BE), Terence Haggerty (UK/US), Clemens Hollerer (AT), Simon Ingram (NZ), Fabian Luyten (BE), Camila Oliveira Fairclough (BR/UK), Jeena Shin (NZ), Morgane Tschiember (FR), Lars Wolter (DE), Carrie Yamaoka (US)

Vincent Longo and Miguel Martinez, Sideshow Gallery, Brooklyn, NY, November 22-December 21, 2008

2008-12-12T08:29:00.005+01:00

Vincent Longo

Yo, Mo Modernism 1, Center for Contemporary Non Objective Art, Brussels, Belgium, November, 2008

2008-11-15T10:50:00.002+01:00

For more information, click here

Unerbrechungen, Variationen (Interruptions, Variations), Regugium 2, Berlin, Germany, October 11-November 11, 2008

2008-10-05T15:09:00.008+01:00

Horst Bartnig, Christian Stock, Jürgen Pass, Elizabeth Sonneck

Elizabeth Sonneck

Group Show, Annandale Galleries, Sydney, Australia, October 1-November 1, 2008

2008-10-03T22:33:00.014+01:00

Alan Charlton, Charles Cooper, Andrew Leslie, Giles Ryder

Giles Ryder

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Alan Charlton

Horst Bartnig, 18m, Berlin, Germany, August 18-October 5, 2008

2008-10-03T22:12:00.008+01:00

For 18m, click here.

Farbsalon, Gallerie Weisser Elefant, Berlin, Germany, October 11-November 8, 2008

2008-10-03T21:57:00.003+01:00

Susanne Jung, Carina Wahlberg, Ania Stöhr Weber, Nikola Richard

Susanne Jung

Coup, Galerie Charlier, Berlin, Germany, Opens September 26, 2008

2008-09-26T07:45:00.003+01:00

For Galerie Chartier, click here.

Claudia Gansz

Manfred Mohr, (DAM) Berlin, Berlin, Germany, Opens September 26, 2008

2008-09-22T22:48:00.005+01:00

For the website of Manfred Mohr, click here.
For the website of (DAM) Berlin, click here.

Andrew Leslie: Positions, John Buckley Gallery, Melbourne, Austrailia

2008-09-21T12:03:00.004+01:00

For the website of John Bluckley Gallery, click here

Olle Baertling,: Paintings 1952-1980, Chinati Foundation, Marfa, Texas, October 2008-Summer 2009

2008-09-21T10:46:00.002+01:00

For the website of Olle Baertling, click here .

For the websie of the Chinati Foundation, click here.

For the website of Olle Baertling, click here .

For the websie of the Chinati Foundation, click here.

Jörg Bürkle, Recherchen, Mies van ver Rohe Haus, Berlin, Germany, September 26-December 7, 2008

2008-09-21T10:19:00.009+01:00

For the website of Jörg Bürkle, click here

nobody 220 x 220 cm (86,6 x 86,6 inch), oil on canvas, 2000-2003

Karl Schmitt, Mies Van Der Rohe Haus, Berlin, Germany, July 4-September 25, 1008

2008-09-17T20:29:00.001+01:00

Claudia Gansz; Highs and Lows, ALP Galleries, New York, NY, September 18-November 20, 2008

2008-09-14T00:47:00.003+01:00

Michael Grave: Combination, Place Gallery, Melbourne, Australia, August 27-September 20, 2008

2008-09-11T11:46:00.000+01:00

Joanne Freeman and Kim Uchiyama; Recent Work, Lohin Geduld Gallery, New York, NY, September 11-October 11, 2008

2008-09-09T00:09:00.004+01:00

For Joanne Freeman, click here
For Kim Uchiyama, click here
For Lohin Geduld Gallery, click here

Joanne Freeman, Negotiable Pink, 2008, oil and wax on panel, 42 x 45 inches

Tadasky, Optical Visionary 1965-2008, Sideshow Gallerly, Brooklyn, NY, September 13-October 19, 2008

2008-09-08T23:53:00.004+01:00

For the website of Tadasky, click here

Sanford Wurmfeld, E-Cyclorama, Edinburgh College of Art, Edinburgh, Scotland, July 23-September 5, 2008

2008-08-26T08:57:00.003+01:00

Don't miss these other images, click here
For Cyclorama 2000, click here

3D Painting, Conny Dietzschold Gallery/Multiple Box, Cologne, Germany, August 30-October 8, 2008

2008-08-26T06:37:00.005+01:00

Pam Aitken, Gary Deirmendjian, Giles Ryder, Mrk Titmarsh, Justin Trendall

Aan Het Licht Gericht, De Vishal, Harlem, The Netherlands, August 30-October 15, 2008

2008-08-25T13:04:00.014+01:00

Geeske Bijker, René van den Bos, Noël Drieghe (B), Daniel Göttin (Zwi), Jasper van der Graaf, Arjan Jansen, Ditty Ketting, Jan van der Ploeg, Tonneke Sengers, Jan Maarten Voskuil

My Eyes Keep Me In Trouble, Physics Room, Christchurch, NZ, August–13 September 2008

2008-08-23T08:59:00.002+01:00

Justin Andrews (AUS), Daniel Argyle (AUS), John Beech (UK/USA), Kjell Bjorgeengen (N), Julian Dashper (NZ), Matthew Deleget (USA), Alexandra Dementieva (RUS/B) & Aernoudt Jacobs (B), Ward Denys (B), Matthys Gerber (AUS), Billy Gruner (AUS), Clemens Hollerer (A), Andrew Huston (USA), Kyle Jenkins (AUS), Sarah Keighery (AUS), Klaas Kloosterboer (NL), Rossana Martinez (USA), Simon Morris (NZ), Miranda Parks (NZ), Léopoldine Roux (F), Giles Ryder (AUS), Esther Stocker (A), David Thomas (AUS), Tilman (D/B), Emmanuelle Villard (F), Leon Vranken (B), Dan Walsh (USA), Tamara Zahaykevich (USA), Beat Zoderer (CH).

Matthew Deleget/Michael Zahn, Contemporary Art Projects, Toowoomba, Australia, August 7-23, 2008

2008-08-23T08:22:00.000+01:00

Michael Zahn, dy(o), 2006, acrylic on canvas, 60 inches x 60 inches

Matthew Deleget, Shuffle-Clubfoot, Acrylic & fluorescent acrylic on panel, 2008, 18 x 18 inches

American Abstract Artists: Tribute to Esphyr Slobodkina, Painting Center, New York, NY, Setpember 2-Setpember 27, 2008

2008-08-21T05:48:00.021+01:00

For exhibition brochure including essay by Stephen Maine and list of 70+ participating artists, click here.

For American Abstract Artists site, click here

For webiste of The Painting Center, click here.

Stephen Westfall

Stephen Maine

Michael Brennan

Steve Karlik

Leiden Assemblage No.1, Galerie Le Petit Port, Leyden, Netherlands, August 24-September 7, 2008

2008-08-19T09:16:00.004+01:00

Daniel Gottin, Guido Winkler, Billy Gruner, Jasper van der Graaf, Thomas Wildner, Jan Maarten Voskuil, Daniel Argyle, Andrew Leslie, Kyle Jenkins, Tilman and Giles Ryder

Guido Winkler

Susanne Jung/Alexander Voss, Maleri/Wand- und Bodenstücke, Verein für aktuelle Kunst, Oberhausen, Germany, August 10-September 21, 2008

2008-08-18T22:39:00.005+01:00

For Susanne Jung's website, click here.
For more information on Verein für aktuelle Kunst, click here.

Susanne Jung

Dirk Rathke: Bildobjekte, Malerie und Zeichnung, Hauser Hoffman Kunst, Thayngan, Switzerland, August 23-October 4, 2008

2008-08-05T22:30:00.003+01:00

Properties, IS Projects, Leyden, Netherlands, August 17-October 5, 2008

2008-08-05T22:23:00.010+01:00

Iemke van Dijk, René Eicke, Pieter Geraedts, Jasper van der Graaf, Sarah Keighery, Alexandra Roozen, Léopoldine Roux and Clary Stolte

For IS Projects site, click here

René Eicke (gesso on canvas, 70x100cm)

Ruprecht Geiger, Museum für Gegenwartskunst Siegen, Siegen, Germany, June 1 - September 28, 200

2008-07-20T21:15:00.003+01:00

For information click here.

Sequence: Susanne Ackermann & Rossana Martinez, Gallery Sonja Roesch, Houston, Texas, July 12-August 30, 2008

2008-07-14T11:51:00.001+01:00

Click here for Gallerie Sonja Roesch

Rossana Martinez

Private/Corporate V, Daimler Contemporary, Berlin, Germany, June 20-September 21, 2008

2008-07-12T20:14:00.002+01:00

From the Lafrenz Collection: Josef Albers (GER), Carl Andre (USA), Alan Charlton (UK), Johannes Esper (GER), Frank Gerritz (GER), Liam Gillick (GB), Donald Judd (USA), Sol LeWitt (USA), Brice Marden (USA), John McCracken (USA), David Novros (USA), Blinky Palermo (GER), Robert Ryman (USA).

From the Daimler Collection: Hanne Darboven (GER), Liam Gillick (GB), Hermann Glöckner (GER), Sol LeWitt (USA), Jonathan Monk (GB), David Novros (USA), Charlotte Posenenske (GER), Peter Roehr (GER),
Tom Sachs (USA), Eckhard Schene (GER), Katja Strunz (GER), Franz Erhard Walther (GER)

Klaus J Schoen, Heidrichs Kunsthandlung, Berlin, Germany, June 14-July 26, 2008

2008-07-12T19:38:00.002+01:00

Don Voisine, Icon Contemporary Art, Brunswick, Maine, July 12, 2008

2008-07-12T10:11:00.003+01:00

Australia, Contemporary Non-Objective Art, December 1, 2007-August 20, 2008

2007-08-23T08:36:00.001+01:00

1 Dec, 2007 - 20 January, 2008
Raum 2810 and Gesellschaft für Kunst und Gestaltung e.V., Bonn.

23 Feb - 20 April, 2008
Museum Kultuspeicher, Würzburg.

29 June - 20 August, 2008
Kunsthalle Dominikanerkirche, Osnabrück.

Justin Andrews, Daniel Argyle, Michael Graeve, Billy Gruner, Melinda Harper, Andrew Huston, Kyle Jenkins, Sarah Keighery, Melanie Khava, Andrew Leslie, John Nixon, Robert Owen, Kerrie Poliness, Trevor Richards, Quentin Sprague, David Thomas.

Neo Mimimalism, John Buckley Gallery, October 11-November 4, 2006, Richmond, Australia,

2006-08-23T08:26:00.001+01:00

Mark Galea, PJ Hickman, Andrew Leslie, John Nicholson, Giles Ryder, Robert Hunter, Robert Jacks, Sol Lewitt , John Nixon, Kerrie Poliness

For information click here.