Dear Friends,

We lost a giant yesterday. Australian artist John Nixon (1949-2020), our dear friend and gallery artist, died peacefully at home in Melbourne surrounded by his loved ones. John’s profound impact on contemporary reductive abstraction cannot be measured or overstated. Just within the past twelve hours, I heard of his passing from friends from Auckland to Amsterdam. I will truly treasure the time I spent with him, especially our last conversation here at the gallery in September 2019. John was the rarest of individuals. He was kind, humble, witty, optimistic, inquisitive, inventive, and generous. Farewell, dear friend.

Biography: John Nixon is one of the most renowned abstract artists of his generation. Since his first solo exhibition in Melbourne in 1973, he has mounted hundreds of solo exhibitions in Australia, New Zealand, Europe, and the United States. In 1982, he was selected by Germano Celant to represent Australia at Documenta 7 in Kassel, Germany. Nixon’s work is included in public and private collections worldwide, including the Solomon R. Guggenheim Museum, Australian National Gallery, Museum of Contemporary Art (Sydney), Art Gallery of New South Wales, Museum of Contemporary Art (Sydney), National Gallery of Victoria, Heide Museum of Modern Art, TarraWarra Museum of Art, Art Gallery of Western Australia, Queensland Art Gallery, Auckland Art Gallery, National Gallery of Contemporary Art (Seoul), and Kunstmuseum St. Gallen (Switzerland), among many others. Nixon is the recipient of the Australian Council Fellowship Award (2001) and the Clemenger Contemporary Art Award (1999).

Warmest regards,
Matthew & Rossana

May 2 – June 27, 2020
Opening: Saturday, May 2, 4-6pm

A solo exhibition by Montclair, New Jersey-based conceptual painter Ken Weathersby premiering his new series of Dream Paintings. This will be the artist’s second solo exhibition at the gallery.

About the Artist
Ken Weathersby  (b. 1963 Gulfport, Mississippi; lives Montclair, New Jersey) has exhibited his work nationally and internationally for the past two decades. He has recently mounted solo exhibitions at Pierogi Gallery (New York), One River Gallery (Englewood, NJ), NIAD Art Center Gallery (Richmond, CA), Some Walls (Oakland, CA), and John Cotton Dana Gallery at Rutgers University (Newark).  His work has been included in group exhibitions at the National Academy of Art Museum (New York), Honey Ramka (Brooklyn), Odetta Gallery (Brooklyn), 57w57Arts (New York), Parallel Art Space (Ridgewood, NY), Mixed Greens (New York), Aljira Art Center (Newark), the Geraldine R. Dodge Foundation Gallery (Morristown, NJ), Barbara Walters Gallery at Sarah Lawrence College, the Visual Art Center of NJ (Summit, NJ), Seven (Miami), Toomey Tourell (San Francisco), and IS Projects (Leiden, Netherlands), among many others.

Weathersby has received numerous awards and residencies, most recently the Individual Artist Painting Fellowship by the Mid-Atlantic Arts Council/NJSCA (2016).  His work has been written about in Hyperallergic, the Huffington Post, Brooklyn Magazine, the New American Paintings blog, Painter’s Bread, and elsewhere.  Weathersby holds an MFA in Painting from Cranbrook Academy of Art, Bloomfield Hills, MI, and a BFA in Painting and Drawing from University of Southern Mississippi, Hattiesburg, MS.

SPECIAL NOTICE:
We are pleased to announce that we are reopening the gallery starting on Saturday, September 12, 2020, from 11am-5pm. For the time being, we plan to be open on Saturdays only, as well as by appointment.

Our current exhibition, Joan Witek: Paintings from the 1980s, which originally opened on March 7, will continue through Saturday, October 24.

To protect our community against COVID-19, we will only allow up to 4 visitors at a time in the gallery. Social distancing and masks are required. Hand sanitizer will be available for guests. Books will be available for sale in our office.

March 7, 2020 – October 24, 2020
Hours: Saturdays, 11am-5pm + by appointment

MINUS SPACE is pleased to present the exhibition Joan Witek: Paintings from the 1980s. The exhibition will highlight eight major paintings dating from 1980-1985, all of which have not been publicly exhibited since their debut in Witek’s solo survey at the Carnegie Museum of Art in Pittsburgh, PA, in the 1980s. This exhibition is organized in collaboration with Artist Estate Studio, LLC, Brooklyn.

At a time when the validity of the Modernist canon is being questioned and reassessed, the paintings and drawings of Joan Witek are ripe for rediscovery. For decades Witek has produced a diverse array of paintings and works on paper motivated solely by the color black. “Black is, quite simply, the color of language,” Witek explained recently.

Alongside dominant figures such as Ellsworth Kelly, Frank Stella, and her neighbor Richard Serra, Witek has been a key protagonist in the downtown New York art scene since the 1970s. She has produced highly-inventive works using her own reductive language that deliberately avoid the formal and chromatic concerns associated with much of postwar American art.

In the large-scale paintings presented in her exhibition, Witek sought a kind of purity, filling her surfaces with measured, vertical and horizontal marks laid down side by side in rows with the raw, unprimed canvas visible between those strokes. Witek’s work captivates in its variety—the play between surface, edge, luminosity, and texture.

“I wished to reconcile abstraction and feeling,” Witek once told Jonathan Caldwell, curator of her 1984 solo survey at the Carnegie Museum of Art in which many of the works on view in this exhibition were first presented. She continued, “The irony of the work…is in appearing to be simple and easily grasped visually while an ongoing language of proportion and content proceeds through each work. Each painting depends on the others for interpretation. They are a handwriting. Although the writing style is relatively uniform, each picture has a uniquely based origin in my emotions or wherever a particular painting comes from. Its themes are the art of painting, or my perceptions of the world, or the renderings of my insides.”

This exhibition occurs during a time of increased visibility for the artist and increased attention to this particularly moment in her oeuvre. Her visually-striking Equivalent (1983), an oil and graphite painting measuring more than nine feet across, is currently on view at the Carnegie Museum of Art following the institution’s reinstallation of its Postwar and Contemporary Art Galleries in 2018.

For further information about Joan Witek, her exhibition, and available artworks, please contact the gallery. Available paintings can also be viewed on our Artsy page: www.artsy.net/minus-space.

ABOUT THE ARTIST
Joan Witek (b. 1943, New York, NY) has used the color black for much of her life as an artist. While appearing to be straightforward, there is a persistent language of proportion and meaning in her abstraction. Black is usually considered the absence of color. It is severe, rigorous, and associated with emptiness and repression. But as Lilly Wei has written, “Witek plays these oppositions in her work: black being ascetic and alluring, meditative and expressive, flawless and flawed, fierce and demure, a distinct unequivocal presence, yet subtle, elusive.”

Joan Witek lives and works in New York City. Her select solo exhibitions include Jason McCoy Gallery,  Outlet Fine Art, Atea Ring Gallery, Bartha Contemporary, Kouros Gallery, CDS Gallery, Wynn Kramarsky, John Davis Gallery, and Rosa Esman Gallery.

Recent group exhibitions include Positive, Negative at Massey Klein Gallery (New York, NY); Crossroads: Carnegie Museum of Art’s Collection, 1945 to Now at the Carnegie Museum of Art (Pittsburgh, PA); Painting Black at Stiftung Konzeptuelle Kunst (Soest, Germany); Black & White: Modern and Contemporary Positions at Jason McCoy Gallery (New York, NY); Kunstmuseum Wilhelm-Morgner-Haus (Soest, Germany); Drawn / Taped / Burned: Abstraction on Paper at the Katonah Museum of Art (Katonah, NY); Black and White at Galleri Weinberger (Copenhagen, Denmark); Sammlung Schroth, Kloster (Wedinghausen, Germany); and Bartha Contemporary (London, UK).

Her work can be found in many prominent public collections, including the Albright-Knox Art Gallery, Arkansas Arts Center, Fogg Art Museum at Harvard University, Metropolitan Museum of Art, Museum of Modern Art, and the Yale University Art Gallery, among others.

ABOUT MINUS SPACE
Founded in 2003, MINUS SPACE presents the past, present, and future of reductive art on the international level. The gallery’s sixteenth season is focused on living women artists and will feature solo exhibitions by Leslie Roberts, Sonya Kelliher-Combs, Gabriele Evertz, and Joan Witek.

#joanwitek
#paintingsfromthe1980s

February 15 – June 14, 2020
Opening Reception: Saturday, February 15, 4-6pm

Ruth and Elmer Wellin Museum of Art
Hamilton College
198 College Hill Road
Clinton, NY 13323
hamilton.edu/wellin

Museum Hours
Tuesday-Sunday 11am-5pm
The museum is free and open to the public.

The exhibition SUM Artists: Visual Diagrams & Systems-Based Explorations presents several generations of artists who investigate and visualize the intersection of divergent subjects of pressing concern — the arts, culture, history, race, gender, politics, economics, sciences, humanities, transportation, and the quotidian, among others — primarily through the creation of visionary, often fantastical, charts, maps, diagrams, and lists. Featuring recent and historical artworks by thirty individual artists and collectives working across a broad array of different media including painting, drawing, printmaking, sculpture, installation, and artist books, the exhibition will also present a selection of rare, precedent books, a hand-tinted print, and a poster, on loan from the Hamilton College Library Special Collections, dating from the late seventeenth to the mid-twentieth centuries. Although the content of the work in the show has the appearance of empiricism and “truthiness,” it abounds in idiosyncrasies that point to the subjectivity of the makers and what they choose to focus on in their analysis of information through their practice. 

Highlights in the exhibition include Mary Beth Edelson’s now legendary hand-colored lithograph Some Living American Women / Last Supper (1972), in which the artist collaged the faces of preeminent yet underrecognized female artists atop those of Jesus Christ and his apostles in Leonardo da Vinci’s iconic painting The Last Supper, thereby creating her own artistic pantheon; David Diao’s Barnett Newman, The Paintings in Scale (1991), a painted inventory of the renowned Abstract Expressionist artist’s relatively modest output during his now celebrated career, charted according to the format, dimensions, and year the paintings were produced; and RYAN! Elizabeth Feddersen’s wall installation Kill the Indian, Save the Man (2017–present), which exhaustively maps the nineteenth- and twentieth-century Indian boarding schools that were established in the U.S. to assimilate Native American children, with devastating, indelible cultural repercussions.

In today’s supercharged political climate, additional works of particular currency include Dread Scott’s silkscreened diptych #WhileBlack (2018) — which features portions of two unending lists of social-media hashtags, one describing the hazards posed by racial discrimination (#DrivingWhileBlack, #GoingIntoYourBuildingWhileBlack) and the other offering more wishful aspirations (#WantingToKickOpenPrisonDoorsWhileBlack, #WantingToBeFreeWhileBlack) — as well as architect and designer Theo Deutinger’s chilling nonfiction publication Handbook of Tyranny (2018), which uses dozens of frighteningly graphic illustrations to illustrate the relationship between structures of political and economic power and the systematic control of populations. 

Participating artists in SUM Artists include Elisabetta Benassi, Vincent Como, Jennifer Dalton, Theo Deutinger, David Diao, Mary Beth Edelson, RYAN! Elizabeth Feddersen, Daniel Feral, Richard Garrison, the Guerrilla Girls, Alfred Jensen, Mike Mills & Experimental Jetset, Loren Munk, Eadweard Muybridge, John O’Connor, Wendy Red Star, Faith Ringgold, Leslie Roberts, Dread Scott, Ward Shelley, Batia Suter, Athena Tacha, Massimo Vignelli (with Joan Charysyn and Bob Noorda of Unimark International Corporation), and John Zinsser.

The Hamilton College Library Special Collections are loaning works by Sebastian C. Adams (1825–1898), Jonathan Cummings (1817–1894), Kerista community member Even Eve (active 1970s), William Law (1686–1761), and Ezechiel Sangmeister (1723–1784).

SUM Artists is curated by Matthew Deleget and Rossana Martínez, visual artists, educators, and arts professionals who have collaborated on a wide array of projects over the past twenty-five years. In 2003, they co-founded and currently direct the inventive Brooklyn gallery MINUS SPACE, which presents the past, present, and future of reductive art on the international level. Together they have curated and produced nearly a hundred exhibitions on three continents.

EXHIBITION PROGRAMMING

Saturday, February 15, 4-6pm
Opening Reception
Wellin Museum of Art

Wednesday, February 19, 4:30pm
Artists in Conversation: Matthew Deleget, Rossana Martinez, and Loren Munk
Co-Sponsored by the Art Department
Bradford Auditorium, Kirner-Johnson Building 
Curators Matthew Deleget and Rossana Martinez will be in discussion with artist Loren Munk.

Thursday, February 20, 4:30pm
Gallery Walk-Through
Wellin Museum of Art
Curators Matthew Deleget and Rossana Martinez will lead a gallery walk-through and discussion of the exhibition.

Thursday, February 27, 4pm
Spring Evening of Art for Educators
Wellin Museum of Art
This interdisciplinary event for K-12 teachers and administrators introduces the current exhibition and features curriculum-friendly project demonstrations.

Tuesday, March 10, 5pm
Director’s Tour
Wellin Museum of Art
Johnson-Pote Director Tracy L. Adler will lead a tour of the exhibition.

Monday, April 6, 4:30pm
Artists in Conversation: Wendy Red Star
Bradford Auditorium, Kirner-Johnson Building 
Artist Wendy Red Star will present a lecture and lead a discussion about her artistic practice.

The Ruth and Elmer Wellin Museum of Art’s programs are made possible, in part, by the Daniel W. Dietrich ’64 Arts Museum Programming Fund; the Johnson-Pote Museum Director Fund; the John B. Root ’44 Exhibition Fund; the Edward W. and Grace C. Root Endowment Fund; and the William G. Roehrick ’34 Lecture Fund.

For inquiries and group tours, please contact wellin@hamilton.edu.

@wellinmuseum
@minus_space
#sumartists
#wellinmuseum

January 11 – February 29, 2020
Opening: Saturday, January 11, 4-6pm
Artist Talk: Saturday, February 29, 3pm

MINUS SPACE is delighted to present the solo exhibition Gabriele Evertz: Exaltation. This is the Brooklyn, New York-based artist’s third solo exhibition at the gallery and it will present a suite of new abstract color paintings.

Color has been the defining subject matter of Gabriele Evertz’s artistic practice for the past three decades. Her exhibition Exaltation presents new large-format abstract paintings that deepen and extend her color research and experimentation. In her new work, Evertz foregrounds “the intense, pure colors of the sun spectrum as seen against a changing field of variously increasing or decreasing light.” She presents these color constructs in fluctuating combinations of vertical bands and diagonal lines that together form energetic zigzags.

Although she initiates new paintings objectively, Evertz finds that “the world seems to have a way to insinuate itself into the work.” Her paintings first address the wonder of sight through the psychological and physiological effects of color, but direct viewers to engage with many other aspects of the human experience, including biology, chemistry, physics, optics, philosophy, literature, and history.

Evertz’s paintings are experiential. “We see color with our mind,” she states. She considers the viewer an equal partner who completes the purpose and meaning of her work. Evertz continues, “Viewing a painting in distance and duration – or space and time – is seeing with your inner self. You can read the painting in your own way, according to your cultural history.” Her ultimate desire is to unlock the potential for viewers “to see and engage passionately in untold visual discoveries.” About her exhibition, Evertz affirms, “this is my most resolute work – ‘entschlossen’, as Heidegger would say – and I believe, my most ecstatic series of paintings.”

For further information about Gabriele Evertz, her exhibition, and available artworks, please contact the gallery. Available paintings can also be viewed on our Artsy page: www.artsy.net/minus-space.

ABOUT THE ARTIST
Gabriele Evertz (b. 1945 Berlin, Germany) has exhibited her work in solo and group exhibitions internationally, including in Argentina, Australia, Brazil, France, Germany, Greece, Italy, New Zealand, United Kingdom, and the United States. Her recent museum exhibitions include the Columbus Museum (Columbus, OH), Heckscher Museum (Huntington, NY), Hillwood Art Museum (Brookville, NY), Louisiana Art & Science Museum (Baton Rouge, LA), MoMA PS1 (Long Island City, NY), Museo de Art Contemporáneo (Buenos Aires, Argentina), Osthaus Museum Hagen (Hagen, Germany), Patricia & Phillip Frost Art Museum (Miami, FL), and Ulrich Museum (Wichita, KS).

Her work is included in many public collections worldwide, such as the Art in Embassies Program of the U.S. Department of State, British Museum, Brooklyn Museum, Columbus Museum of Art, Ewing Gallery / University of Tennessee Knoxville, Hallmark Collection, Harvard University Art Museum, Metropolitan Museum of Art, Mississippi Museum of Art, Museo de Art Contemporáneo (Buenos Aires), Museum of Fine Arts Boston, Museum of Modern Art / Library Special Collection, Museum Modern Art (Hünfeld), New York Public Library, New Jersey State Museum, Osthaus Museum Hagen, Phillips Collection, Princeton University Library, St. Lawrence University Art Museum, Stiftung für Konstruktive und Konkrete Kunst (Zürich), Whitney Museum of American Art, and Wilhelm Hack Museum, among others.

In addition to her painting practice, Evertz was Professor of Art, Painting in Hunter College’s Department of Art & Art History, NYC from 1990-2018. She is a key protagonist in the renowned Hunter Color School, alongside other color painters, including Vincent Longo, Doug Ohlson, Robert Swain, and Sanford Wurmfeld. Over the past fifteen years, Evertz has also curated several critically-acclaimed artist retrospectives and exhibitions, including Dual Current: Inseparable Elements in Painting and Architecture; Visual Sensations: Robert Swain Paintings, 1967-2010; Presentational Painting III; Seeing Red: An International Exhibition of Nonobjective Painting (co-curated with Michael Fehr); Set in Steel: The Sculpture of Antoni Milkowski; and Mac Wells: Light into Being (co-curated with Robert Swain).

ABOUT MINUS SPACE
Founded in 2003, MINUS SPACE presents the past, present, and future of reductive art on the international level. The gallery’s sixteenth season is focused on living women artists and will feature solo exhibitions by Leslie Roberts, Sonya Kelliher-Combs, Gabriele Evertz, and Joan Witek.

#gabrieleevertz
#exaltation

Spring 2020

A memorial exhibition celebrating the life and work of renowned NYC artist and educator Vincent Longo (1923-2017).

Additional information is forthcoming.

November 2 – December 21, 2019
Opening: Saturday, November 2, 4-6pm
Artist Talk: Saturday, November 2, 3pm

MINUS SPACE is honored to present the solo exhibition Sonya Kelliher-Combs: Mark. This is the Anchorage, Alaska-based artist’s first solo exhibition at a NYC gallery and it will premiere works from her new Credible and other series.

Mark, the title of Kelliher-Combs’s exhibition, is defined as a visible impression or trace on something, as in a line, cut, dent, stain, or bruise. A mark can also be a kind of badge, a brand, or other visible sign that is assumed or imposed. For the artist, it specifically speaks to the endangered state of the natural environment of Alaska, her home state, and the persistent struggles of its indigenous peoples.

Renown for her urgent, deeply personal mixed media paintings, sculpture, and installations about abuse and marginalization, Kelliher-Combs’s exhibition will present works from her new series Credible, which addresses the Catholic Church’s appalling record of abuse in the state of Alaska. Begun in 2005, the paintings in this series reflect the 35 villages that have credible claims of abuse at the hands of those that were sent there to help. Research for this series was provided by the Anchorage Daily News, which was sourced from Jesuits West and supplemented by a report from the Catholic Diocese of Fairbanks, listing “all known individuals, including priests, religious, lay employees and volunteers against whom a complaint of sexual abuse has been filed by one or more individuals” and against whom the abuse has been proven, admitted, or “credibly accused.”

About her probing artistic practice, Kelliher-Combs writes, “I am an artist of mixed decent: Iñupiaq from the Alaska North Slope community of Utqiagvik, and Athabascan from the interior village of Nulato. My family, cultures, and relationship to the land influence all that I do. Because of this, I choose to live and work in Alaska. Growing up in a rural community, I was taught that the land and sea would provide resources, spiritual and physical, necessary to sustain a healthy life. We have unspoken truths: honor all that you harvest; respect the natural world that provides for you, your family and community; take care of one another; and do not take more than you need. Nothing is more beautiful than growing up on the land, harvesting with your family and understanding that you are a part of this place. 

As a child I spent summers at our camp where we worked, hunted and gathered food and supplies for the winter. It was there I learned to listen, learning from family, community and nature. Through the observation and practice of time-honored traditions – skin sewing, beading, and food preparation – I realized my role as Woman, Daughter, Sister, Wife, and Artist. Traditional women’s work taught me to appreciate the intimacy of intergenerational knowledge and material histories. These experiences and skills have allowed me to examine the connections between Western and Indigenous cultures, and to investigate notions of interwoven identity through my work. 

Through the use of synthetic, organic, traditional, and modern materials and techniques, I build upon the traditions of my people. I am inspired by our ancestors and their relationship to their environment embodied in their use of skin, fur, and membrane in material culture. The subjects of my work are patterns of history, family and culture. Personal and cultural symbolism forms the imagery. These symbols speak to history, culture, family, and the life of our people. They also speak about abuse, marginalization, and the historical and contemporary struggles of Indigenous peoples. 

I live in a modern world, but I still depend on the cultural traditions and values of our people, including respect for land, animals, the sea, and fellow humans. I strive to create works that carry on these values and address the persistent importance of traditional knowledge.”

For further information about Sonya Kelliher-Combs, her exhibition, and available artworks, please contact the gallery. Available artworks can also be viewed on our Artsy page: www.artsy.net/minus-space.

ABOUT THE ARTIST
Sonya Kelliher-Combs (b. 1969 Bethel, Alaska; lives Anchorage, Alaska) is an artist of mixed decent: Iñupiaq from the Alaska North Slope community of Utqiagvik, and Athabascan from the interior village of Nulato. Her work has been shown in numerous individual and group exhibitions at museums and galleries across the country, including Sakahan (National Gallery of Canada), HIDE: Skin as Material Metaphor (National Museum of American Indian), and SITELINES: Much Wider Than a Line (SITE Santa Fe).

She is a recipient of the prestigious United States Arts Fellowship, Joan Mitchell Fellowship, Eiteljorg Fellowship for Native American Fine Art, and Rasmuson Fellowship, as well as the 2005 Anchorage Mayors Arts Award and 2010 Alaska Governor’s Individual Artist Award. Her work is included in the collections of the IAIA Museum of Contemporary Native Art, Anchorage Museum, Alaska State Museum, University of Alaska Museum of the North, Eiteljorg Museum, and National Museum of the American Indian. She received her BFA from University of Alaska, Fairbanks, and MFA from Arizona State University, Tempe.

#sonyakellihercombs

Sanford Wurmfeld, II-25 + B/2 (BG-N-RO), 2018
Acrylic on canvas
90 x 47 3/8 inches / 229 x 121 cm

Dear friends,

We hope you had a wonderful summer (and winter in the southern hemisphere)!

We’re delighted to announce the upcoming solo exhibition by renowned gallery artist Sanford Wurmfeld.  Encountering Color: Sanford Wurmfeld’s E-Cyclorama II (and Other Paintings) opens at the IUPUI Herron School of Art in Indianapolis, Indiana, on September 18 and will be on view through December 18. We hope you have a chance to see it!

For further information about Sanford Wurmfeld, his exhibition, and available art works, please contact us here at the gallery. 

Wishing you a wonderful fall (and spring)!
Matthew & Rossana

~~~~~~~~~~

Encountering Color: Sanford Wurmfeld E-Cyclorama II (and Other Paintings)

September 18 – December 18, 2019

Berkshire, Reese, and Paul Galleries
Eskenazi Hall
IUPUI Herron School of Art
735 W. New York Street
Indianapolis, IN 46202
herron.iupui.edu

IUPUI Herron School of Art and Design will launch its fall season Sept. 18 with an exhibition and talk by New York artist Sanford Wurmfeld. 

Encountering Color: Sanford Wurmfeld’s E-Cyclorama II (and Other Paintings) features an immersive, 360-degree installation investigating color and visual perception, along with a selection of Wurmfeld’s recent work. 

E-Cyclorama II, a continuation of the artist’s lifelong exploration of color, offers an interactive, chromatic experience on a monumental scale. Visitors will enter E-Cyclorama II through a doorway that leads them up a staircase into an elliptical space that surrounds the viewer in a continuous, vast panoramic painting, 30 x 26 feet in size and 90 feet in circumference. The exhibition will remain on view through Dec. 18 in the Berkshire, Reese and Paul Galleries.

An artist’s talk given by Sanford Wurmfeld and an opening reception will be held from 5:30 to 9 p.m. Wednesday, Sept. 18. All exhibitions and events at Herron are free and open to the public and will take place in Eskenazi Hall, located on the IUPUI campus at 735 W. New York St. Gallery hours are 10 a.m. to 5 p.m. Monday through Saturday and 10 a.m. to 8 p.m. Wednesdays. Visit HerronGalleries.org for more information.In-kind support for the opening reception and lecture is provided by Sun King Brewing. 

Parking is free in the Sports Complex Garage adjacent to Eskenazi Hall or on levels 5 and 6 of the Riverwalk Garage, courtesy of The Great Frame Up Indianapolis, with validation from the Herron galleries.

ABOUT HERRON GALLERIES
Since 2005, the Galleries at IUPUI Herron School of Art and Design have served as a vibrant site of exploration, participation and learning. Herron’s galleries continue to be an innovative educational forum for diverse audiences by providing direct and meaningful encounters with contemporary art and artists through a wide range of curatorial projects and public programming.

#sanfordwurmfeld
#encounteringcolor

Dear friends,

We’re delighted to announce gallery artist Julio Grinblatt’s participation in the major photography exhibition Forms of Excess curated by Verónica Tell at the Museo Nacional de Bellas Artes in Buenos Aires, Argentina, on view now through November 3. Grinblatt is exhibiting works from his Cielito Lindo and Photos of Others series. We hope you have a chance to see it!

For further information about Julio Grinblatt, the exhibition, and available art works, please contact us here at the gallery. 

All our best,
Matthew & Rossana

~~~~~~~~~~

Forms of Excess

Curated by Verónica Tell

September 3 – November 3, 2019

Museo Nacional de Bellas Artes
Av. Del Libertador 1473
Ciudad Autónoma de Buenos Aires
Argentina
www.bellasartes.gob.ar 

Participating Artists
Erica Bohm, Néstor Crovetto, Bruno Dubner, Paulo Fast, Julio Grinblatt, Estefanía Landesmann, Francisca López, Francisco Medail, Andrea Ostera, Colectivo Provisorio Permanente, Gerardo Repetto, Gabriel Valansi y Pablo Ziccarello.

It could be argued that, almost by definition, the word “reflection” belongs to the art of photography. Despite this, it is unusual to see photography reflecting on its own languages and its ways of intervening in the world. Perhaps this rests on the fact that the ‘reflex’ idea of the world with which it was conceived, and which we naturally accept, seals off the possibility of thinking of it as creating its own universes — that is to say, thinking of it as art. Only there where it was possible to question its nature as sustained in varying technical devices, which posit various ways of constructing the real, has the option opened up of dealing with it as a complex artifact whose situation warrants a critical reading for understanding its foundations.

The exhibition Forms of Excess, curated by Verónica Tell, posits a radical deconstruction of the ways in which we understand photography, by stressing the tension between its reproducible nature, its referentiality, its character as a record of visual indices, and its link with time and forms.

Andrés Duprat, Director, Museo Nacional de Bellas Artes

What is a photograph? What place does the visible image occupy in the definitions of it we may venture? What limits does the device, the apparatus, impose, and how can they be explored and/or contravened? Formulated and thought out in numerous ways, the dimension of thinking about the photographic medium and its specificity has grown considerably in the production of various Argentine artists since the mid-1990s, in the context of the rise of digital photography, which would mark the dematerialization and deterritorialization of the image.

In going back over that series of investigations, the present exhibition gathers together a set of works that have performed operations that compromise the conventional use of various components of photography. These works sound out, at one and the same time, the ways in which, in representing something (or not), photography also exposes itself and represents itself to itself, (re)defining the forms of what it is or can become. In such a setting, excess appears to be simultaneously an experimental method and an aesthetic.

Verónica Tell, Curator

Dear friends,

We’re delighted to announce gallery artists Gabriele Evertz, Robert Swain, and Sanford Wurmfeld’s participation in the terrific new exhibition Harmonies in Color: Six Contemporary Perspectives at the Louisiana Art & Science Museum in Baton Rouge, Louisiana, on view now through March 1, 2020.  We hope you have a chance to see it!

For further information about Gabriele Evertz, Robert Swain, and Sanford Wurmfeld, the exhibition, and available art works, please contact us here at the gallery. 

All our best,
Matthew & Rossana

~~~~~~~~~~

Harmonies in Color: Six Contemporary Perspectives

August 24, 2019 – March 1, 2020

Louisiana Art & Science Museum
100 River Road South
Baton Rouge, LA 70802
www.lasm.org

Color is fundamental to an understanding of our world and profoundly affects our daily lives. Although visible color constitutes only a small portion of the electromagnetic spectrum, it is complex and endlessly fascinating to artists and scientists alike. Harmonies in Color explores the perception of color and brings together the work of six renowned colorists: Gabriele Evertz, Irene Mamiye, Pard Morrison, Jen Pack, Robert Swain, and Sanford Wurmfeld. 

The exhibition includes paintings, photographs, sculptures, and “thread works,” and makes reference to major milestones in the scientific investigation of color, color themes and theories, and color as a subject in art. The artists featured in the exhibition work with different aesthetic media and are pursuing the investigation of color from different perspectives; but, all are united in their interest in the sensory experience of color.

Sound is an Invisible Color is a companion exhibition to Harmonies in Color and will feature the work of Christopher Janney on the second floor of the Main Galleries.

Leslie Roberts, WHY, 2019
Acrylic gouache, colored pencil, ink, graphite on gessoed panel
24 x 18 inches

September 7 – October 26, 2019
Opening: Saturday, September 7, 4-6pm

To kick off its sixteenth season, which will focus on living women artists, MINUS SPACE is excited to present the solo exhibition Leslie Roberts: HOW THINGS ARE. In the Williamsburg, Brooklyn-based artist’s second solo exhibition at the gallery, she presents a group of new diagrammatic paintings that deepen her investigation into ephemeral language and color abstraction.

Leslie Roberts’s new rule-based paintings “reflect how things are, in my life and in the world,” and are visual/verbal hybrids containing handwritten lists of words and phrases that are algorithmically translated into geometric color structures. According to the artist, “lists are the most basic form of writing,” and Roberts collects and catalogs ambient language from diverse sources, such as signage, travel directions, text messages, product labels, acronyms, email, licensing agreements, and field guides. Inventories, for instance of bird species or poetic forms, are quietly evocative, while other lists are “mismatched lexicons full of absurd non-sequiturs.”

Working in a variety of media, including acrylic gouache, ink, and pencil, on slender MDF panels, Roberts transcribes these indexes of contemporary vernacular into columns of handwritten letters. Each item on a list is assigned a particular color and mark. Individual letters in words are subsequently laid out along gridded axes as lines, shapes, clusters of dots, and other inventive forms, creating trembling, overlapping geometric patterns visually akin to ancient hieroglyphics, digital code, woven textiles, or musical scores. Roberts’s paintings ultimately function as diagrams of their own making.

For further information about Leslie Roberts, her exhibition, and available artworks, please contact the gallery. Available artworks can also be viewed on our Artsy page: www.artsy.net/minus-space.

ABOUT THE ARTIST
Leslie Roberts (b. 1957, Goldsboro, North Carolina; lives Brooklyn, New York) has exhibited her work in solo and group exhibitions throughout the United States and abroad for the past 30 years. Her highly-acclaimed first solo exhibition at the gallery, FYEO, took place in 2016 and was widely reviewed. She has also exhibited her work at esteemed venues such as Art in General, Brooklyn Museum, Bruce High Quality Foundation, Dam Stuhltrager Gallery, Davidson Contemporary, Hallwalls, Janet Kurnatowski Gallery, Lyons Wier Gallery, McKenzie Fine Art, Painting Center, Pierogi Gallery, PPOW Gallery, Rotunda Gallery, Sideshow Gallery, Swiss Institute, Tiger Strikes Asteroid NY, Weatherspoon Art Gallery, and Yerba Buena Center for the Arts, among many others.

Roberts produced many of her new paintings during recent residencies at Yaddo, Ragdale, and the Virginia Center for the Creative Arts. She has also received awards from Pratt Institute, Yale University, and Skowhegan School of Painting & Sculpture. Her work has been discussed in publications such as ArtFCity, Artforum, The Brooklyn Rail, dArt International, James Kalm Report, NY Arts Magazine, Sculpture Magazine, TimeOut London, and Two Coats of Paint. Roberts is a professor at Pratt Institute, where she teaches Foundation Light Color and Design. She holds an MFA from Queens College and a BA from Yale University.

#leslieroberts
#howthingsare

July 19 – August 24, 2019
Summer Hours: Friday-Saturday, 11am-5pm + by appointment anytime

MINUS SPACE is pleased to present the group survey exhibition Untitled (Summer), which highlights one work each by 34 international artists, all stemming from our deep inventory.

Summer hours are Fridays & Saturdays, 11am-5pm and by appointment anytime through August 24. There is no official opening reception for the exhibition.

Participating artists:
Roberta Allen, Samantha Bittman, Hartmut Böhm, Sharon Brant, Michael Brennan, Bibi Calderaro, Vincent Como, Julian Dashper, Nate Ethier, Gabriele Evertz, Daniel Feingold, Cris Gianakos, Daniel Göttin, John Griefen, Julio Grinblatt, Lynne Harlow, Kyle Jenkins, Linda King Ferguson, Daniel Levine, Russell Maltz, Victoria Munro, John Nixon, Carrie Pollack, Leslie Roberts, Michael Rouillard, Erik Saxon, Richard Schur, Robert Swain, David Thomas, Tilman, Jan van der Ploeg, Ken Weathersby, Sanford Wurmfeld, John Zinsser

For further information and available artworks, please contact the gallery. Available artworks can also be viewed on our Artsy page: www.artsy.net/minus-space.

#untitledsummer

Vincent Como, The Negative Approach, 2019
Ballpoint pen on graph paper, 2 framed panels
8 x 10 inches each, 16 x 10 inches overall

May 4 – June 22, 2019
Opening: Saturday, May 4, 6-8pm

MINUS SPACE is pleased to present the exhibition Vincent Como: The Negative Approach Operating System (For Intermediate to Advanced Practitioners), the established Brooklyn-based artist’s second solo exhibition at the gallery. The exhibition presents a survey of Como’s drawing practice over the past twenty years organized into three specific chapters: In/Accessibility, Multiplicity, and Subtexts.

Working in a broad array of media, ranging from installation to painting to artist books, the core focus of Vincent Como’s artistic practice is the color black, as both a subject of inquiry and a material substance for making art works. The artist draws on divergent concepts from wide-ranging fields, including art history, color theory, astrophysics, science, alchemy, philosophy, religion, mythology, and the occult.

This first part of Como’s exhibition, In/Accessibility, focuses on early, large, and exceedingly labor-intensive monochromatic works made with a ballpoint pen on paper. The second chapter, Multiplicity, showcases interations from his Drawing Subscription project, active from 2011-2017, in which annual subscribers to the series received new works on paper by mail each month of the year. The exhibition will include selections from various series in the project organized around provocative and enigmatic themes, such as Mystical Geometries, Surface Disruption, Dark Continuum, Apparitions, Forbidden Knowledge, Utopiate, Errata, and Repeater.

Subtexts, the final element of the exhibition, Como describes as a “peek behind the curtain…a dense, lengthy, and bastardized footnote, appendix, glossary, or glossolalia for all levels of devotion from the un-initiated to full-fledged adherents alike.” Presented as a dense grid on the wall of 150+ drawings concerning mantras, meditations, missives, and apocrypha, the works are also collected into a thoroughly researched book with footnotes for each individual work on paper. About his oeuvre over the past two decades, Como states, “The common denominator and unifying factor in all of these fields is rooted in some form of belief and the human capacity for prehension”.

For further information about Vincent Como, his exhibition, and available artworks, please contact the gallery. Available artworks can also be viewed on our Artsy page: www.artsy.net/minus-space.

ABOUT THE ARTIST
Vincent Como (b. 1975, Kittanning, PA; lives Brooklyn, NY) has exhibited his work throughout the United States and abroad, including in Mexico, England, and Austria. Here at the gallery, Como mounted the well-received solo exhibition Paradise Lost in 2013. Last fall he conceived the group show Subvert City, which presented five artists engaged in varied and distinct forms of painterly heresy. His work was included in our recent group exhibitions On Paper (2016), Elements (2015), and Neither Here nor There but Anywhere and Everywhere (2012). He was also included in our survey exhibition MINUS SPACE en Oaxaca: Panorama de 31 artistas internacionales at the Instituto de Artes Gráficas de Oaxaca Alcalá in Oaxaca, Mexico in 2012.

The artist’s other recent solo exhibitions include Spring/Break Art Show (New York), Guest Spot at the Reinstitute (Baltimore, MD), and City Ice Arts (Kansas City, MO). Como has also been included in group exhibitions at Key Projects (Long Island City, NY), DEMO Project (Springfield, IL), Pennsylvania State University (State College, PA), Corridor Projects (Dayton, OH), TSA (Brooklyn, NY), Trestle Projects (Brooklyn, NY), Curious Matter (Jersey City, NJ), Art in General, BRIC Rotunda Gallery, Momenta (all New York), Samson Projects (Boston, MA), Illinois State Museum (Lockport, IL), Western Exhibitions, University of Illinois (both Chicago, IL), Evanston Art Center (Evanston, IL), SPACES (Cleveland, OH), Urban Institute for Contemporary Arts (Grand Rapids, MI), Art Museum of the University of Memphis (Memphis, TN), and House Gallery (Salt Lake City, UT).

Como’s work has been discussed in publications, such as Art 21 Online Magazine, Two Coats of Paint, The Creator’s Project, New American Paintings, The Wall Street Journal, ArtSlant, Progress Report, WagMag, The Boston Phoenix, Chicago Tribune, Chicago Journal, and Salt Lake Tribune, among others. He is a founding member of Tiger Strikes Asteroid, an artist-run space in Bushwick, Brooklyn, with additional locations in Philadelphia, Los Angeles, and Chicago. Como holds a BFA in Drawing from the Cleveland Institute of Art (Cleveland, OH).

#vincentcomo
#thenegativeapproach

February 16 – March 23, 2019

Gallery artist Lynne Harlow’s solo exhibition Golden at Liliana Bloch Gallery in Dallas, Texas, is an exploration of the shared sensations of two seemingly dissimilar cities: Los Angeles and Istanbul. The pieces combine color, material, light and space to explore the affinities she perceives between these two cities, examining their concrete commonalities, like ceramic tile and proximity to water, as well as the atmospheric sensations of both locations. Their historical and cultural differences serve as a compelling counter to the shared essence of these locations. Goldenbuilds on previous projects like Limitless and Lonesome and Baker Bridge Road, projects that scrutinized physical locations and translated their sensory attributes into a group of reductive works executed in a range of materials, including paint, Plexiglas, fabric and light. Lynne Harlow’s working process aims to identify sensations and associations from personally significant and carefully chosen places, and allow them to evolve into their own autonomous experiences that expand beyond their initial sources.

Conceptually, the series is built upon her time spent in both cities as a visitor, an outsider, synthesizing visual and cultural information with the heightened sense of observation – visual perception and aesthetic interpretation – that so often comes with being outside our familiar surroundings. There is an overpowering sense of collision of the built environment with the natural environment in both Los Angeles and Istanbul, a trait that isn’t unique to these two places but is particularly prominent in both. The series aims to examine and interpret this collision of the natural and the constructed. In addition, both cities’ identities hinge on their unique east/west relationships: Istanbul as the literal geographic meeting of Europe and Asia, and Los Angeles as an organic intermingling of varied Asian and western populations as a result of geographic proximity. The project comprises large-scale installation pieces and a constellation of smaller individual works. The group includes small and large-scale drawings (colored pencil, gouache and acrylic on paper), sculptural wall works made with ceramic tile, Plexiglas, fabric and paint, and large-scale installation pieces that include ceramic tile, Astroturf, glass, fabric and vinyl curtain. This list is a combination of materials and techniques that Harlow previously used in the studio and others that are new to her practice.

www.lilianablochgallery.com

Sanford Wurmfeld’s studio in Tribeca, NYC, 2019

March 2 – April 20, 2019
Opening: Saturday, March 2, 6-8pm

MINUS SPACE is delighted to present the exhibition Sanford Wurmfeld: Variations. This is the NYC artist’s second solo exhibition at the gallery and it will highlight a suite of new abstract paintings meticulously organized around a select palette of 29 colors.

For more than five decades, Sanford Wurmfeld has exhaustively investigated the subject of color and its capacity to elicit wide-ranging emotional responses in the viewer. He has produced work across a broad array of media during his career, including painting, works on paper, sculpture, installation, and filmmaking.

For his new exhibition, Wurmfeld presents his latest inquiry into color’s three essential qualities: hue (a single, pure color), value (lightness or darkness of a color), and saturation (relative purity or intensity of a color). Using Arthur Pope’s color system as a point of departure – Pope was an early 20^th Century color theorist and fine arts instructor at Harvard University – Wurmfeld organizes his new paintings around a 12-part color circle. which includes each of the 12 colors at full saturation, 10 of those same colors at half saturation (with the exception of yellow and violet), and 7 grays. Wurmfeld then places selections of those 29 colors onto layered grids of shifting alignment, which are often bookended by narrow bands of contrasting colors.

Wurmfeld recognizes color perception to be a highly subjective experience and he openly embraces differing, individualized responses on the part of the viewer. He writes, “For the last hundred years, some artist’s intentional selection of color in painting has been crucial to formulating expression. Such use of particular color choices by the discerning artist, creating through experiences of assimilation and contrast, give rise to various pictorial structures of pattern, space, duration, film, and luminosity. When the active, searching viewer has such emergent experiences, even though these experiences are ambiguous and shifting, the expressive feeling of the work is communicated.”

For further information about Sanford Wurmfeld, his exhibition, and available artworks, please contact the gallery. Available artworks can also be viewed on our Artsy page.

ABOUT THE ARTIST
Sanford Wurmfeld (b. 1942 in Bronx, NY) has exhibited his work worldwide in solo and group exhibitions since the late 1960s. In 2013, he was the subject of a major 45-year survey exhibition entitled Sanford Wurmfeld: Color Visions, 1966-2013 curated by William C. Agee at Hunter College/Times Square Gallery, NYC. He has also presented solo exhibitions at Neuberger Museum of Art, Tibor de Nagy Gallery, Galerie Denise Rene, Susan Caldwell Gallery, Bard College, Maxwell Davidson Gallery (all New York), Karl Ernst Osthaus-Museum (Hagen, Germany), Mucsarnok Kunsthalle (Budapest, Hungary), Talbot-Rice Gallery (Edinburgh, Scotland), and Ewing Museum Gallery (Knoxville, TN).

In 1968, Wurmfeld was the youngest artist included in the landmark exhibition Art of the Real curated by Eugene Goossen at the Museum of Modern Art, NY. The exhibition traveled for the next two years to the Grand Palais (Paris, France), Kunsthaus (Zurich, Switzerland), and The Tate Gallery (London, England). Wurmfeld’s other museum group exhibitions include the American Academy of Arts and Letters, National Academy Museum (both New York), Visual Arts Center of New Jersey (Summit, NJ), Dayton Art Museum (Dayton, OH), Long Beach Museum of Art (Long Beach, CA), Karl Ernst Osthaus-Museum (Hagen, Germany), and Espace de l’Art Concret (Mouans-Sartoux, France), among others.

Here at the gallery, Wurmfeld mounted the well-received solo exhibition Light & Dark in 2013 and presented new paintings in the two-person exhibition Polychromy alongside Gabriele Evertz in 2017. His work was also highlighted in our group exhibitions On Paper in 2016 and Pointing a Telescope at the Sun in 2011, among other projects.

Complementing his studio practice, Wurmfeld has lectured and written extensively on the history of color, painting, and abstraction. He has received awards from the John Simon Guggenheim Memorial Foundation, National Endowment for the Arts, City University of New York, and Dartmouth College. Wurmfeld’s work is included in collections worldwide, including the Solomon R. Guggenheim Museum, Metropolitan Museum of Art, Brooklyn Museum (all New York), Karl Ernst Osthaus-Museum, Sprengler Museum (both Germany), and Espace de l’Art Concret (France), among others.

In addition to his artistic work, Wurmfeld taught in the Department of Art at Hunter College from 1967-2012, where he educated and mentored countless generations of artists. Originally invited to join the faculty by sculptor Tony Smith and critic Eugene Goossen, Wurmfeld was Chairman of the department from 1978-2006.

ABOUT MINUS SPACE

Founded in 2003, MINUS SPACE presents the past, present, and future of reductive art on the international level.

PRESS
Paintings About Change, Not Perfection, by John Yau, Hyperallergic, April 7, 2019
Sanford Wurmfeld: Variations, by Robert C. Morgan, The Brooklyn Rail, April 2019

#sanfordwurmfeld
#variations

Julian Dashper, Untitled (2002), 2001-2002
Cut cedar stretcher, 36 x 36 x 1.25 inches / 91.5 x 91.5 x 3.2 cm

January 5 – February 16, 2019
Opening: Saturday, January 5, 6-8pm

MINUS SPACE is honored to present the solo exhibition Julian Dashper: The Future. This is the late artist’s second solo exhibition at the gallery and commemorates ten years of his passing. The exhibition will highlight select art works produced during the 1990s and early 2000s.

Julian Dashper (1960-2009) is one of the most renowned reductive artists of his generation and was one of the gallery’s earliest international collaborators, starting around the time of our inception in 2003. Working across a wide array of media for nearly three decades, Dashper produced conceptually and aesthetically rigorous paintings, works on paper, installations, albums, performances, and ephemera. Much of his work concerns the connection between abstract art and popular culture. One recurring theme is the reading of international Modernism in New Zealand art, and how in New Zealand, great Modernist works are known largely through reproduction. Another topic of investigation is the art historical canon – the rarified list of artists regarded by culture in general as great.

A 25-year retrospective of Dashper’s work, entitled Midwestern Unlike You and Me, curated by Christopher Cook and David Raskin, traveled throughout the United States in 2005-2006, making stops at the Sioux City Art Center, Iowa; Sheldon Memorial Art Gallery, Nebraska; and Ulrich Museum of Art, Kansas. In the catalog accompanying the exhibition, Dashper published his text Untitled (on the 4th July) 2005, in which he writes 99 distinct aphorisms, including several prescient statements that have only grown more poignant since his passing:

“5. A white wall. With a picture on it. A round picture. I think that it is a picture. Maybe it is not?

“6. Let me call it an object. This object was not made by me. But it was made by an artist. Let us call it an artwork. It seems more personable than calling it an object.

19. I used to like to watch paint dry. It helped me understand the painting, or at least that is what I used to tell people watching me watch it dry. After finishing a painting I would go and wash up and come back to the studio and stand quietly in front of it. It seemed important at the time. That was in the early 1980s.

21. I was forced to become a minimalist. Or that is what I still like to tell people. Coming from where I come from, I had no choice. Or that is what I like to say. Shipping things long distances affects the way that I make them in the first place. In 1990 that problem first became a subject in my work. By 2000, that subject had disappeared and become a method instead. A method that I did not think about any more. Much like getting dressed. It was just something that you do. Which clothes you choose is another story. It is all about how you get “into the zone,” after all. I am also fond of telling people that I consider minimalism to be a verb of sorts. Not a noun. Not really an adjective either. More of a verb. A doing word, as I learnt in my astronaut’s costume back in the early 1960s. A word that expresses the idea of an action. The idea of minimalism.

54. I do not make art to illustrate a theory, to be shown in bienniales or airports (which seems to be the same sort of thing to me these days), or potentially to sell. I just thought I would say that, even though it should be a given by the time that you read this. I make it for myself. An audience of one. A table set for myself. Guests welcome to pop in. Please ring first.

57. Personally I am convinced that the last great thing that we do not understand is time. Call it the fourth dimension if you will.

59. Put it this way. I do not understand time. And I also do not understand why I seem not to have enough of it at present.

61. As I have written before, it is somewhat difficult as an artist to write about my work because the reader often assumes that is the sole truth. The whole truth and nothing but the truth. Whilst I know what my work is about, I also believe that a wider truth comes to all artwork in time. And that wider or extended truth is something that is generated by the culture and context surrounding the work in general. Remember that culture is not always a dirty word.”

For further information about Julian Dashper, his exhibition, and available artworks, please contact the gallery. Available artworks can also be viewed on our Artsy page: www.artsy.net/minus-space.

ABOUT THE ARTIST
Julian Dashper was born in Auckland, New Zealand, on February 29, 1960 (leap year day) and died in Auckland on July 30, 2009. During his brief but influential career, he mounted more than 140 solo exhibitions of his work worldwide, including in New Zealand, Australia, Asia, Europe, and the United States.

His major New Zealand exhibitions include Julian Dashper’s Greatest Hits, Govett Brewster Art Gallery, New Plymouth (1992); The Big Bang Theory, Artspace (1994); and The Twist, Waikato Museum of Art and History (1998). In 2005-2006, a mid-career survey of Dashper’s work, Midwestern Unlike You and Me, curated by Christopher Cook and David Raskin, traveled throughout the United States, including to the Sioux City Art Center, Sioux City, Iowa; Sheldon Memorial Art Gallery, Lincoln, Nebraska; and Ulrich Museum of Art, Wichita, Kansas.

In 2010 here at the gallery, we mounted the well-received, posthumous solo exhibition Julian Dashper (1960-2009): It Is Life, which marked the one-year anniversary of the artist’s passing and featured a single artwork entitled Future Call, as well as written tributes to him by more than 70 artists and others internationally. Dashper’s work was also presented in our survey exhibitions MINUS SPACE at MoMA/PS1, NYC (2008-2009) and MINUS SPACE en Oaxaca: Panorama de 31 artistas internacionales in Oaxaca, Mexico (2012), as well as the group exhibitions Neither Here nor There but Anywhere and Everywhere (2012) and On Paper (2016), among other projects.

In 2001, Dashper was awarded a Fulbright scholarship and was an artist in residence at the Chinati Foundation in Marfa, Texas. His work is included in public collections internationally, including the Chartwell Collection, Auckland Art Gallery; Auckland Art Gallery, Toi o Tāmaki, Auckland; Dunedin Public Art Gallery, Dunedin; Museum of New Zealand, Te Papa Tongarewa, Wellington; Robert McDougall Gallery, Christchurch; Sarjeant Gallery, Whanganui; Suter Gallery, Nelson (all New Zealand); Museum of Contemporary Art, Sydney, Australia; Stedelijk Museum, Amsterdam, The Netherlands; and Ludwig Forum für Internationale Kunst, Aachen, Germany.

ABOUT MINUS SPACE

Founded in 2003, MINUS SPACE presents the past, present, and future of reductive art on the international level.

#juliandashper
#thefuture

Lael Marshall, Untitled, 2013
Wood, glue
9 x 4.5 x 1.25 inches / 23 x 11.5 x 3 cm

November 3 – December 22, 2018
Opening: Saturday, November 3, 6-8pm

Participating Artists:
John Beech, Sharon Brant, Vincent Como, Michelle Magot, Lael Marshall

MINUS SPACE is delighted to present Subvert City, a group exhibition conceived by gallery artist Vincent Como. The exhibition brings together five artists of several generations –- John Beech, Sharon Brant, Vincent Como, Michelle Magot, and Lael Marshall -– who are engaged in varied and distinct forms of painterly heresy. The artists presented in Subvert City honor the modern painting canon by undermining, oversaturating, or inverting it. Employing an apophatic approach to art making, the works by these artists range from the visceral and to the sublime, and stress a unadorned, material objectness.

John Beech’s works merge the formal concerns of Minimalism with the common materials and utilitarian objects found in the everyday urban environment, including “discovered” materials, cast offs, garbage bins, and moving dollies. In her work, Sharon Brant applies dense, opaque encaustic paint in black or white around the outer perimeter of beveled oval panels leaving irregular, suggestive patches of wood grain suspended at their centers. Vincent Como’s ongoing work foregrounds a semiotic approach to the color black, and through a wide array of diverse materials, investigates the myriad associations of black as an observable pigment and an absorber of light. Black acts as both a mark of information and an agent of its negation. Working with the properties of matter, color, and irregularity, Michelle Magot’s employs absurd and illogical strategies to investigate the creative act, the unconscious, and non-referential spaces. And finally, Lael Marshall fashions irregularly shaped remnants of wood covered in repurposed fabric, paint, and on occasion cat hair, into humble, diminutive objects that evoke a raw sublime.

For further information about the exhibition and available artworks, please contact the gallery. Available artworks can also be viewed on our Artsy page: www.artsy.net/minus-space.

JOHN BEECH
John Beech (b. 1964 Winchester, England; lives Brooklyn, NY) has exhibited his work internationally for the past three decades. He has mounted more than 50 solo exhibitions throughout North America, Europe, and Japan since 1989. Recent solo exhibitions and projects include Charlotte Jackson Fine Art (Santa Fe, NM), Anglim Gilbert Gallery (San Francisco, CA), Daniel Marzona (Berlin, Germany), Galerie Les Filles Du Calvaire (Paris, France), Galerie Gisèle Linder (Basel, Switzerland), and Peter Blum (New York), among many others. He is the recipient of awards from the Pollock Krasner Foundation, Chinati Foundation, San Francisco Museum of Modern Art, and University of California. Beech holds a BA from the University of California (Berkeley, CA).

SHARON BRANT
Sharon Brant (lives Beacon, NY) has exhibited her work internationally for the past five decades, including in Europe, Australasia, Mexico, and the United States. Brant mounted the well-received solo exhibitions Plenty (2018) and Sideswiped (2012) here at the gallery. She was also included in our recent group exhibitions Brant / Brennan / Zinsser in 2016, and MINUS SPACE en Oaxaca at the Instituto de Artes Gráficas de Oaxaca Alcalá in Oaxaca, Mexico in 2012. Brant has exhibited her work at museums, including the Whitney Museum of American Art, MoMA PS1, Rochester Museum, Everson Museum of Art, and Aldrich Contemporary Art Museum, among many others. Brant studied at the Kansas City Art Institute (Kansas City, MO) from 1962-1965 and moved permanently to New York City in 1966. Her work was included several years later in the Whitney Museum of American Art’s Painting Annual in 1972. She exhibited regularly with OK Harris (solo exhibitions 1970, 1972), A.I.R. Gallery (solo exhibitions 1989, 1991, 1994, 1996), and Elizabeth Moore Fine Art (solo exhibitions 2007, 2011, 2018). Brant was a member of A.I.R. Gallery from 1989-1996, the first artist-run gallery for women in the United States founded in 1972. She has been a member of American Abstract Artists since 2004. In 2012, Brant was awarded a grant from the Adolph and Esther Gottlieb Foundation. Her work has been reviewed in Artforum, ARTnews, Art International, Arts Magazine, The Brooklyn Rail, Hyperallergic, and The New York Times, among many other publications.

VINCENT COMO
Vincent Como (b. 1975, Kittanning, PA; lives Brooklyn, NY) has exhibited his work throughout the United States and abroad, including in Mexico, England, and Vienna. Recent solo exhibitions include Spring/Break Art Show (New York), Reinstitute (Baltimore, MD), and City Ice Arts (Kansas City, MO). Como has also been included in group exhibitions at Key Projects (Long Island City, NY), DEMO Project (Springfield, IL), Pennsylvania State University (State College, PA), Corridor Projects (Dayton, OH), TSA (Brooklyn, NY), Trestle Projects (Brooklyn, NY), Curious Matter (Jersey City, NJ), Art in General, BRIC Rotunda Gallery, Momenta (all New York), Samson Projects (Boston, MA), Illinois State Museum (Lockport, IL), Western Exhibitions, University of Illinois (both Chicago, IL), Evanston Art Center (Evanston, IL), SPACES (Cleveland, OH), Urban Institute for Contemporary Arts (Grand Rapids, MI), Art Museum of the University of Memphis (Memphis, TN), and House Gallery (Salt Lake City, UT), among many others. Como’s work has been discussed in publications, such as Art 21 Online Magazine, Two Coats of Paint, The Creator’s Project, New American Paintings, The Wall Street Journal, ArtSlant, Progress Report, WagMag, The Boston Phoenix, Chicago Tribune, Chicago Journal, and Salt Lake Tribune, among others. He holds a BFA in Drawing from the Cleveland Institute of Art (Cleveland, OH).

MICHELLE MAGOT
Michelle Magot (b. 1978 Lima, Peru; lives Lima, Peru) holds an MA from the Byam Shaw School of Art / Central Saint Martins College of Arts and Design (London, UK) and a BFA from the Escuela Superior de Arte Corriente Alterna (Lima, Peru). She has mounted numerous solo exhibitions at Galeria Forum (Lima) and was presented in important group exhibitions in Miami, London, Hamburg, and Berlin. Between 1998-2003, she has participated in several residencies in Tuscany, Italy under the direction of artists Rose Shakinovsky and Claire Gavronsky. Magot has taught at the Corriente Alterna Escuela de Artes Visuales and worked in scenery and costumes for productions at the Teatro la Plaza ISIL in Lima.

LAEL MARSHALL
Lael Marshall (b. 1968, Seattle, WA; lives Ridgewood, Queens) holds an MFA from the Academy of Fine Arts (Munich, Germany) and a BFA from the University of Michigan (Ann Arbor, MI). Her recent solo and two-person exhibitions include Gray Contemporary (Houston, TX), 57W57Arts (New York), Dieu Donné (New York), and Mitart Gallery (Basel, Switzerland). Recent group exhibitions include Anita Rogers Gallery (New York), Triennale Grenchen (Grenchen, Switzerland), BRIC, Schema Projects , Parallel Art Space (all Brooklyn, NY), ParisCONCRET (Paris, France), Sydney Non-Objective (Sydney, Australia), Beers Contemporary (London, UK), A/B/Contemporary (Zurich, Switzerland), A3 Gallery (Moscow, Russia), Look&Listen (Saint-Chamas, France), Riverside Art Museum (Riverside, CA), Visual Arts Center of New Jersey (Summit, NJ), and Moulins de Villancourt (Pont de Claix, France). In 2014, Marshall received the Acker Award for Visual Arts (San Francisco, CA) and participated in a Workspace Residency at Dieu Donné (New York).

#SubvertCity
#JohnBeech
#SharonBrant
#VincentComo
#MichelleMagot
#LaelMarshall

Marie Watt, Custodian Belly, 2007
Reclaimed wool blankets, embroidered floss, thread, 112.5 x 107 inches

September 8 – October 27, 2018
Opening: Saturday, September 8, 6-8pm

Performance by Gina Adams on Saturday, September 8, 5pm (prior to opening)
Please RVSP to info@accolagriefen.com by September 1.

Artist Talk with Gina Adams, Maria Hupfield & Jami Powell, Curator, Hood Museum of Art on Sunday, October 21, 1pm
Please RVSP to info@accolagriefen.com by October 10.

Accola Griefen Fine Art and MINUS SPACE are pleased to present the three-woman exhibition Blanket Statements: Works by Gina Adams, Maria Hupfield & Marie Watt. This is the first collaborative project by the galleries and it will take place at MINUS SPACE’s location in Dumbo, Brooklyn.

Artists Gina Adams, Maria Hupfield, and Marie Watt are of indigenous descent and fabric plays a significant role in their respective practices. No other blanket statements can be made, however, about the work of these three individuals. Each has a unique approach to her materials, as well as the confluence of tradition and innovation. Adams, Hupfield, and Watt make work that resists simplified interpretation.

Gina Adams draws upon cultural practices passed down from her ancestors, as well as a family history of forced assimilation. Her Broken Treaty Quilt Series consists of restructured antique quilts sewn with words from broken treaties between Native American tribes and the United States government. Similarly, Marie Watt’s work stems from history, biography, Iroquois proto-feminism, and indigenous principles. Her large format works are commonly made in sewing circles, public events in which fellowship and storytelling can be as important as the resulting object. Felt is a favored material of Maria Hupfield, “a maker, a mover, a connector, an Anishinaabe-kwe and a member of Wasauksing First Nation.” (Art in America, October 2017). Hupfield’s performance-based photographic works are disrupted by felt collages and address the issue of self-definition. The applied fabric acts as both as a shield and a screen, repelling consumption of the body and of nation, and resisting specificity and oversimplification.

GINA ADAMS
Gina Adams is a descendant of both indigenous and colonial Americans. Adams’ cross-media, hybrid studio work includes quilt-based work, sculpture, ceramics, painting, printmaking, and drawing. Her work has been exhibited extensively throughout the US and resides in many public and private collections. The noted international art critic Lucy Lippard wrote the introduction to Adams’ Nerman Museum of Contemporary Art exhibition Its Honor Is Here Pledged in 2015. In 2016, Adams was a SARF Smithsonian Artist Research Fellow and exhibited in Boulder Colorado at Naropa University’s White Cube Gallery, where she is a Faculty in Visual Arts. In 2018, she participated in the Kohler Arts/Industry Residency and the Dartmouth College Residence Program, where works from her Broken Treaty Quilt Series were also exhibited (catalog available). In recent years Adams’ work has been featured in publications including The New Yorker, Hyperallergic, and Huffington Post.

MARIA HUPFIELD
Based in Brooklyn, Maria Hupfield is from the Anishinaabek Nation and a member of Wasauksing First Nation, Ontario, Canada. Her work is currently traveling in the solo exhibit The One Who Keeps on Giving, a production of The Power Plant Contemporary Art Gallery, Toronto, in partnership with Southern Alberta Art Gallery, Lethbridge; Galerie de l’UQAM, Montréal; Mount Saint Vincent University Art Gallery, Halifax; and Canadian Cultural Centre, Paris. As a recipient of the Grafly Commission, The Ulrich Museum will mount a solo exhibition of Hupfield’s work in spring 2019. Her work has travelled with the exhibition Beat Nation: Art, Hip Hop and Aboriginal Culture, and was shown in New York at The Kitchen, BRIC, The Bronx Museum, Smithsonian National Museum of the American Indian, Museum of Arts and Design, and SITE Santa Fe 2016, with performances at Gibney Dance, Boston Museum of Fine Arts, and Brooklyn Museum. Together with artist Jason Lujan, she co-owns Native Art Department International in New York. She is the first Indigenous Artist in Resident at International Studio & Curatorial Program in Brooklyn and was included in the summer Triangle Residency Program. In 2018. she was selected for the prestigious Hnatyshyn Foundation award for outstanding achievement by a Canadian mid-career artist.

MARIE WATT
Marie Watt is a member of the Seneca Nation of Indians. Watt attended the Skowhegan School of Painting and Sculpture and received fellowships from the Joan Mitchell Foundation and Anonymous Was a Woman Foundation. In 2015, Watt exhibited at SITE Santa Fe and received a permanent public commissioned from the United States State Department’s Art in Embassies program in 2016. Her work is in private and public collections, including Denver Art Museum, Eiteljorg Museum, Facebook, Microsoft Collection, Missoula Art Museum, Montclair Art Museum, Museum of Fine Arts (Santa Fe), National Gallery of Canada, and Portland Art Museum (Oregon), Seattle Art Museum, Smithsonian American Art Museum/Renwick Gallery, Smithsonian National Museum of the American Indian, Tacoma Art Museum, and the US Department of State. Watt lives and works in Portland, Oregon.

ADDITIONAL ART WORKS AVAILABLE
In addition to the three artists on view in Blanket Statements, there will also be a selection of paintings and works on paper by renowned artist Jaune Quick-to-See Smith in the gallery’s viewing room.

ABOUT ACCOLA GRIEFEN FINE ART
Private dealers, Kristen Accola and Kat Griefen represent and offer works by important 20th and 21st Century American women artist and Native American women artists. For further information, please contact:

www.accolagriefen.com | info@accolagriefen.com | 347.350.6867 | 718.938.5941

Instagram: instagram.com/AccolaGriefen
Facebook: facebook.com/Accola_Griefen
Twitter: twitter.com/AccolaGriefen

PRESS
What to See in New York Art Galleries This Week: Blanket Statements, by Jillian Steinhauer, The New York Times, October 17, 2018

49 Must-See Art Shows Opening This Fall From Daniel Arsham, Carmen Herrera, Irving Penn, and more. Vulture, September 6, 2018
Fall Preview 2018, New York Magazine, September 3-16, 2018

#blanketstatements
#ginaadams
#mariahupfield
#mariewatt

Lynne Harlow’s studio, Providence, Rhode Island, 2018

June 1-30, 2018
Artist Talk: Saturday, June 9, 3-4pm

MINUS SPACE is thrilled to present Providence, Rhode Island-based artist Lynne Harlow’s new site-sensitive installation Tilt Toward the Sun. The project will be on view 24/7 in our Water Street windows from June 1-30, 2018.

Harlow’s exuberant new installation responds directly to the vibrancy of the gallery’s Dumbo location in a castle-like former horse stable nestled between the spans of the Brooklyn and Manhattan Bridges. Employing her signature materials of undulating vinyl rain curtain juxtaposed against graphically painted walls, Harlow’s installation will fill both of the gallery’s two oversized fourteen by eleven foot windows facing Water Street with a layered, highly-saturated color experience that merges installation, sculpture, and painting. Tilt Toward the Sun responds directly to the cadence of the window’s gridded mullions and shifting natural daylight, and advances the artist’s decades-long exploration of the illusive, yet sublime interaction of color, light, and material.

For further information about Lynne Harlow, her new installation, and available artworks, please contact the gallery. Available artworks can also be viewed on our Artsy page: www.artsy.net/minus-space.

ABOUT THE ARTIST
Lynne Harlow (b.1968 Attleboro, MA; lives Providence, RI) has exhibited her work nationally and internationally for the past 15 years, including in the United States, Mexico, France, Germany, Italy, Norway, Australia, New Zealand, and Japan. Here at the gallery, she has mounted three very well-received solo exhibitions – Ask the Sky, Baker Bridge Road (2016), Against the Velvet of the Long Goodbye (2013), and BEAT (2007). She also participated in our recent group exhibition Fiber Optic (2015), as well as our large survey exhibitions MINUS SPACE en Oaxaca: Panorama de 31 artistas internacionales, Oaxaca, Mexico (2012) and MINUS SPACE curated by Phong Bui at MoMA/PS1 (2008-2009).

Harlow’s work was included in the 2013 deCordova Biennial at the deCordova Sculpture Park and Museum, Lincoln, MA. Her additional museum exhibitions include MoMA PS1 (New York, NY); Herbert F. Johnson Museum of Art (Ithaca, NY); Brattleboro Museum and Art Center (Brattleboro, VT); and Instituto de Artes Gráficas de Oaxaca (Oaxaca, Mexico). Harlow has received awards from the Chinati Foundation, Rhode Island Foundation, and BAU Institute, and her work has been reviewed in publications, such as Artforum, The New York Times, The Boston Globe, The Providence Journal, and Artnet Magazine, among others. Harlow’s work is included in public collections, such as The Museum of Modern Art, Metropolitan Museum of Art, New York Public Library, and Hunter College (all New York, NY); RISD Museum (Providence, RI); and The Philips Collection (Washington, DC). Harlow holds an MFA from Hunter College and a BA from Framingham State College.

#lynneharlow
#tilttowardthesun

Russell Maltz, Bundled Blue, 2016
Enamel on metal studs, 118 x 7.5 x 4 inches / 300 x 19 x 10 cm

CURATED BY SAUL OSTROW

PARTICIPATING ARTISTS
Noël Dolla, Don Dudley, Michelle Grabner, Ivelisse Jiménez
Russell Maltz, Raul Mourão + Marcos Chaves/RM+MC
Richard Nonas, Gustavo Prado, Sreshta Rit Premnath
Jeanne Silverthorne, Adam Simon, Robert Yasuda

MINUS SPACE
July 7 – August 11, 2018
Opening: Saturday, July 7, 6-8pm

GALERIE RICHARD
July 13 – August 25, 2018
Opening: Saturday, July 14, 6-8pm

Galerie Richard and MINUS SPACE are delighted to present their first joint group exhibition entitled Position Matters curated by renowned critic, curator, and educator Saul Ostrow. Bridging the Lower East Side and Dumbo gallery neighborhoods, the concurrent exhibition will feature new and historical works by thirteen New York and international artists spanning three generations.

Bringing together artists working with a diverse array of material and conceptual concerns, Position Matters presents works where siting and location play a critical role in the viewer’s experience and comprehension of the work. Curator Saul Ostrow states, “The artists in Position Matters abandon the frame, traditional formats, the pedestal, and placing things at eye level. They align their works with the body and address the viewer somatically and cognitively. By doing so the work becomes more a presence, an intervention, an event.”

Artists on view at Galerie Richard include Noël Dolla, Michelle Grabner, Russell Maltz, Raul Mourão + Marcos Chaves/RM+MC, Gustavo Prado, Sreshta Rit Premnath, Jeanne Silverthorne, Adam Simon, and Robert Yasuda. Artists presented at MINUS SPACE include Noël Dolla, Don Dudley, Ivelisse Jiménez, Russell Maltz, Richard Nonas, and Robert Yasuda. For further information about the concurrent exhibition, participating artists, or available art works, please contact either gallery.

ABOUT THE CURATOR
Saul Ostrow is a critic and the founder of Critical Practices Inc., an organization that fosters research, teaching, and practices dedicated to social discourse and change. A renowned thinker and writer, he has four decades of experience in the contemporary art world as critic, curator, and educator. He previously was Chair of Visual Arts and Technology at The Cleveland Institute of Art and Director of the Center for Visual Art and Culture at The University of Connecticut. He is Art Editor at Large at Bomb Magazine and was the Editor of the Routledge book series Critical Voices in Art, Theory and Culture.

GALERIE RICHARD
Galerie Richard opened in 1989 in Paris and in the Lower east Side in 2015 with the motivation to discover new artists creating challenging new art and support them in a long-term journey.

121 Orchard Street, New York, NY 10002
www.galerierichard.com | new york@galerierichard.com | 212.510.8181
Summer Hours: Tuesday-Saturday, 11am-7pm
Lower East Side | between Delancey + Rivington
Subway: F to Delancey Street | D to Grand Street

MINUS SPACE

Founded in 2003, MINUS SPACE presents the past, present, and future of reductive art on the international level.
16 Main Street, Suite A, Brooklyn, NY 11201

www.minusspace.com | info@minusspace.com | 718.801.8095
Hours: Wednesday-Saturday 11am-5pm + by appointment
DUMBO | corner of Main + Water
Subway: A/C to High Street | F to York Street | 2/3 to Clark Street