Opening reception: Thursday, September 9th from 6-8 PM
In 1951 Robert Rauschenberg made his white paintings which were called by his friend and contemporary John Cage "airports of the lights, shadow and particles" referencing the white surface's sensitivity to its surroundings. Through Cage's observation, the white painting acts much like a screen on to which a shadow, for example, could suddenly alter the perception of the art. Within that frame, the artwork's surface can only seemingly refer to itself and becomes transitory in meaning, letting both the environment and the viewer's perception dictate its reference point.
This exhibition brings together a group of contemporary artists whose practices are aligned with a keen sense of how a work of art both simultaneously contains and references information. The exhibition explores the point where the object and concept converge within a sparse or minimal field. With each artwork's bare aesthetics, meaning shifts depending upon the artist's intentions, the viewer's perception and participation, or the physical space's layout.
The gallery space itself parallels Cage's observation in that the seemingly austere placement diverges into multiple individual conceptual strategies. Attention is drawn to the question of site specificity by Daniel Buren's work and Stephen Prina 'system specific' practices that engage traditional concepts of site specificity together with institutional criticism. The object itself becomes the center of focus in Heimo Zobernig's primed white canvas, while Allan McCollum's multiple pieced 'surrogates' explore ideas of the unique object and that of the division of labor, and Wade Guyton's "Untitled" paintings of large X's printed upon white canvases act as empty ciphers and signifiers upon an already vanquished visual plane. Hovering just below the ceiling, Philippe Parreno's "Speech Bubbles" provide a proverbial empty depository for the individual voice of the viewer. The balloons create an idealistic installation for social dialogue, each object containing an individual voice in a group of shared interests. For these artists, reduction to the bare elements is not bound to the aesthetics of nothingness but rather becomes a vehicle to expand concept infinitely.
Friedrich Petzel Gallery is located at 537 West 22nd Street New York, NY 10011. The gallery is open Tuesday through Saturday from 10:00 AM – 6:00 PM. For further information, please call (212) 680 – 9467 or email email@example.com.
This catalogue was published on the occasion of the exhibition Allan McCollum. Works 1980-2008 A Selection at Luciana Brito Galeria, São Paulo, Brazil, August through October, 2009
The book contains an introduction by Jacopo Crivelli Visconti and texts by Andrea Fraser, Craig Owens, Dietmar Elger, Hal Foster, Helen Molesworth, Jill Gasparina, Lynne Cooke, Rhea Anastas, Rosalind Krauss and Allan McCollum interviewed by D.A. Robbins, Robert Enright, Thomas Lawson
Published by Luciana Brito Galeria
© 2009 Luciana Brito Galeria
The book contains the interview between Allan McCollum and Thomas Lawson
Published By A.R.T. Press, Los Angeles
© 1995 Art Resources Transfer, Inc
Preface by Karola Grässlin.
Essays by Vitus Weh, The Crystal Soul of the Modern Museum.
David Pestorius, Due Process. Some Notes on Heimo Zobenig's Grid Paintings and their Antecedents.
Verlag der Buchhandlung Walther König, Köln
© 2006 Heimo Zobering, Kunstverein Braunschweig, David Pestorius, Vitus Weh, Karola Grässlin und/and Verlag der Buchhandlung Walther König, Köln.
Preface by Eva Badura-Triska, Who or What Is Heimo Zobernig?
Eva Badura-Triska, Heimo Zobernig-A Monograph.
Klemins Gruber, Monika Meister, Éducation géometrique The Young Zobernig Sized Up the Theater.
Christian Höller, Around 1982. Visual Negation in the Early Work of Heimo Zobernig.
Verlag der Buchhandlung Walter König, Köln.
© MUMOK, Museum Moderner Kunst Wien.
New York City, October 2008.
Maxime Barbier, Marion Bayot, Esther Berelowitsh, Marc Borneo, Maxime Buechi, Roch Deniau, Stéphanie Dupont, Nicolas Gallet, Aline Girard, Thibault Gleize, James Goggin, Charlotte Jankowski, Masha Karpushina, Aude Lehmann, Urs Lehni, Marie Lusa, Gaël le Maitre, Pierre Marie, Véronique Marques, Claire le Roy, Guy Meldem, Laurent Meszaros, Peter Maybury, Aurélie Morassut, Chris Neal, Andreas Och Fredrika, Clément Rodzielski, Tomoë Sugiura, Régis Tosetti, Sylvia Tournerie, with Philippe Parreno
OCLC Number: 465475009
The publication contains the following texts:
From Frame to Page: On Galerie Max Hetzler by Janelle Porter
The Mobile Site by James Meyer
A Collectors as Photographer by Wilhelm Schürmann
Published by UCLA Hammer Museum in collaboration with the Department of Art, Critical and Curatorial Studies, University of California, Los Angeles
© 2004 The Regents of the University of California
This catalogue was published on the occasion of the Wade Guyton's exhibition "Zeichnungen für ein großes Bild" at Museum Ludwig Köln, April 23 - August 22, 2010
Published by Verlag der Buchhandlung Walther König, Köln
© 2010 Wade Guyton, Museum Ludwig Köln and Verlag der Buchhandlung Walther König, Köln
This catalogue was published on the occasion of the Wade Guyton's exhibtion at La Salle de bains, Lyon, April 1 - May 28, 2006
The book contains the essay "The American Action Printer" by Vincent Pécoil
Published by Collection La Salle de bains
© 2006 Wade Guyton, Vincent Pécoil, La Salle de bains
This catalogue was published on the occasion of the exhibition "Wade Guyton. Color, Power & Style" at Kunstverein in Hamburg, October 29, 2005 - January 8, 2006
The book contains the following essays:
The Beautiful Surface of Resistance by Yilmaz Dziewior
Color, Power & Style. Notes on an Exhibition Title by Janneke de Vries
Modern Bilder by Scott Rothkopf
Wade Guyton - The Lights are out in the Land of Necessity by Daniel Baumann
Published by Verlag der Buchhandlung Walther König, Köln
© 2006 Wade Guyton, Kunstverein in Hamburg, authors, and Verlag der Buchhandlung Walther König, Köln