Displaying items by tag: minimalism

The artist Richard Serra is working on a major new sculpture for an exhibition in May 2015 at David Zwirner’s vast space on West 20th Street in New York.

The news will be seen as a coup for Zwirner but a blow for Gagosian Gallery, which has been Serra’s primary dealer since the 1990s and is currently showing four large works at its space in Britannia Street, London (until 28 February).

Although Serra’s relationship with Gagosian has long been non-exclusive, it had been assumed that this was the only gallery with the space and structural capacity to show the artist’s large Minimalist sculptures, which can weigh hundreds of tons.

Christie’s announced the sale of Donald Judd’s "Untitled (Bernstein 93-1)" as one of the highlights of the fall auction season. The fifteen foot high sculpture will be included in the Evening Sale of Post-War and Contemporary Art on Wednesday, November 12th. In scale, design, radiance, effect and simplicity, "Untitled (Bernstein 93-1)" is one of the most important works by the artist to be presented on the market and confirms Donald Judd's position as a master of Minimalist art. "Untitled (Bernstein 93-1)" was executed a few months before the artist’s death; this magnificent sculpture, one of the artists large scale stack sculptures, has remained in the same collection since its creation in 1993.

Donald Judd's "Untitled (Bernstein 93-1)," is an icon of 20th century sculpture, and one of the artists most important and recognizable works. Judd's approach to sculpture was truly revolutionary, using industrial materials and pared-down geometric forms that equally stressed the physical structure and the space around it.

Photographer Louise Lawler will be the next artist to fill the billboard located at the base of the High Line -- New York’s elevated, linear park. The image, which depicts a room at Sotheby’s that contains works by Minimalist and Conceptual art icons Frank Stella, Sol Lewitt, and Donald Judd, is the 15th installation in the High Line’s billboard series. Other artists who have participated in the public art project include the Conceptual artist John Baldessari, photographer Robert Adams, and the British artist David Shrigley.

In the early 1970s, Lawler began looking critically at the ways in which art was displayed outside of the artist’s studio. She began photographing other artists’ works on view in collectors’ homes, in storage spaces, and on view at auction houses, challenging the viewer to think about the context in which works of art are displayed and documented.

The building at 421 E. 6th Street looks unassuming enough. It’s still got the facade of the Con Ed substation that it was in the 1920s, and chances are, if you’re strolling by on the way to Tompkins Square Park, you probably wouldn’t stop and stare.

But inside, the gigantic space is filled with the minimalist installations of Walter De Maria, who purchased the lot in 1980 and turned it into his studio and home that he occupied and built upon until his death last year. He transformed the building into a work of art itself, perhaps the encapsulation of his entire career and life.

The Bellevue Arts Museum in Bellevue, Washington, is currently hosting the exhibition “Under Pressure: Contemporary Prints from the Collections of Jordan D. Schnitzer and his Family Foundation.” The show, which features works by artists such as Chuck Close, Roy Lichtenstein, Jasper Johns, Robert Rauschenberg, Barbara Kruger, Sol Lewitt, and Andy Warhol, traces printmaking’s rise to prominence in post-war American art. Drawn from real estate mogul Jordan D. Schnitzer’s vast collection, “Under Pressure” includes examples from major movements within contemporary art such as Abstract Expressionism, Pop Art, Photorealism, and Minimalism.

During the late 1950s, the art world experienced a groundswell of interest in printmaking. Ignoring the stigma associated with the process, pioneering artists such as Rauschenberg and Johns began experimenting with a variety of techniques, including offset lithography, screen printing, wood-cutting, lino-cutting, and laser-cutting.

Sculptures by the two artists featured here in temporary presentations at Storm King Art Center this year couldn’t be less alike. A single Minimalist piece by the New York sculptor Virginia Overton is gracefully fitted to the landscape of gently rolling hills. Six monumental, figurative sculptures by Zhang Huan of Shanghai are ponderously theatrical.

Ms. Overton’s untitled piece is a straight, nearly 500-foot length of brass tubing about four inches in diameter elevated four feet above the ground by thin rods. From a valley between low hills, it follows an upward slope to its peak and then disappears over the other side.

An enormous abstract sculpture, a sailboat of sorts, rests on a pedestal at the intersection of Beverly and San Vicente boulevards in West Hollywood. Its dark, carbon-fiber sails seem to billow in the wind, and corkscrew spirals of stainless steel, like twirling gusts of air, dance around it. Cedars-Sinai Medical Center rises up behind it, like towering, angry waves.

Frank Stella, the abstract artist who made the piece, circles it on foot, viewing it for the first time since it was installed. In a dapper sports coat and brown fedora, the 78-year-old New York artist — a fixture in the modern-art world for more than 50 years and one of the fathers of Minimalism — assesses the sculpture while in perpetual motion. He speaks quickly, pausing only to look up at the piece from different angles, hand on hip, squinting into the sunlight.

In keeping with deCordova Sculpture Park and Museum’s goal to become one of the country’s leading sculpture parks, the institution is pleased to announce the addition of new work by Carl Andre, Tom Burr, Paul McCarthy, Jarrett Mellenbruch, Alyson Shotz, and Kenneth Snelson, on view this summer.

A founder of 1960s American minimalism, Carl Andre developed a commitment to making objects that were comprised of an assembly and arrangement of elements. One of the artist’s few outdoor works, Sphinges is comprised of sixteen units of eastern pine placed to form a grid, playing on the riddle of the Sphinx. Like much of Andre’s work, Sphinges is made of raw materials and its arrangement is based on masonry techniques, which assert that the pattern in which the components are placed can determine the durability of the structure. The sculpture reveals the intrinsic beauty of the pine through repetition of forms and the artist’s purposeful placement of units.

On June 30, Sol LeWitt’s “Wall Drawing #370: Ten Geometric Figures (including right triangle, cross, X, diamond) with three-inch parallel bands of lines in two directions” (1982) will go on view at the Metropolitan Museum of Art in New York. The linear, black-and-white drawing will take five drafters four weeks to install.

LeWitt, a founder of both Conceptualism and Minimalism, made his first wall drawing in 1968. The process involved creating guidelines or diagrams so that the two-dimensional works could be drawn directly on a wall using everything from graphite and crayon to India ink and acrylic paint. LeWitt’s wall drawings were designed for limited duration and maximum flexibility within a broad range of architectural settings. Painstakingly executed by drafters, most of LeWitt’s wall drawings were eventually destroyed. “Wall Drawing #370” will be painted over when the exhibition ends on September 7, 2015.

Storm King Art Center, a sprawling sculpture park in New Windsor, New York, has acquired three contemporary works through major long-term loans. The sculptures include “Source” (1967) by American minimalist Tony Scott, “Royal Tide 1” (1960) by monochromatic master Louise Nevelson, and “Broken Obelisk” (1967) by Abstract Expressionist Barnett Newman.

Guests who enter through the Center’s Museum Hill entrance are greeted by “Source,” Smith’s monumental black painted-steel sculpture. First exhibited at Documenta IV in Kassel, Germany, in 1968, “Source” is among Smith’s most dynamic large-scale sculptures and exemplifies the painted black outdoor works for which he is best known.