Robert Morris @ Castelli Gallery, NYC - 'Robert Morris: Seeing and Space' Exhibition

Robert Morris: Seeing and Space

Castelli Gallery, New York

April 3 – June 27, 2025

Castelli Gallery presents Robert Morris: Seeing and Space. The exhibition juxtaposes two forms of work dating from the 1970s: Untitled (Walk Around), 1975, a mirror installation; and a group of eight Blind Time drawings dating from 1973 and 1976.

Robert Morris was a pioneer of Minimal art. His minimalist sculpture of the 1960s consisted of abstract objects in plywood, fiberglass, aluminum, and steel. Sitting directly on the floor, these works are blank in affect and large enough to establish a one-to-one physical encounter with the observer.

During the early 1970s the artist’s practice changed direction. One new tendency was the production of objects and installations that can be occupied and walked through. New work took various forms, including installations with mirrors. Here the virtual space of mirror reflection appears to alter or complicate the actual space of the room. Untitled (Walk Around) was the first installation of this kind. It consists of mirrors and flat, empty steel frames arranged to create a sequence of vantages, including positions from which the frames appear—through reflection—to multiply endlessly, a virtual impression of infinite regress.

Beginning in 1973 Robet Morris also embarked on a long series of drawings titled Blind Time. The drawings were produced by the artist with his eyes shut, a bare-handed application of powdered graphite and other mediums directly onto sheets of paper large enough to contain the breadth of his reach. Each drawing follows a set of instructions, or “protocols,” executed according to an estimated length of time.

Together the mirror installations and the Blind Time drawings represent opposing extremes of embodied vision: seeing multiplied and seeing obscured.

Robert Morris: Seeing and Space, is organized by curator and critic Jeffrey Weiss, who has worked extensively on the artist. His past projects include (with Clare Davies) the book Robert Morris: Object Sculpture, 1960-1965, published by Castelli Gallery in partnership with Yale University Press, and Robert Morris: The Perceiving Body, an exhibition that appeared at the Museum of Modern Art (MUDAM), Luxembourg.

CASTELLI GALLERY

24 West 40th Street, New York, NY 10018

www.castelligallery.com

Pat Steir @ Hauser & Wirth, NYC - Blue River and Rainbow Waterfalls

Pat Steir

Blue River and Rainbow Waterfalls

Hauser & Wirth, New York

10 November – 23 December 2022

Pat Steir

Blue River, 2005

Oil on canvas

342.9 x 1129.7 x 6.4 cm / 135 x 444 3/4 x 2 1/2 in

© Pat Steir. Courtesy the artist and Hauser & Wirth

Pat Steir

Rainbow Waterfall #4, 2022

Oil on canvas

274.3 x 274.3 cm / 108 x 108 inches

© Pat Steir. Courtesy the artist and Hauser & Wirth

Photo: Elisabeth Bernstein

Pat Steir’s first exhibition with Hauser & Wirth, and her first solo show in New York City since 2017, ‘Blue River and Rainbow Waterfalls’ is comprised of vibrant new paintings, including the artist’s largest and most daring single canvas to date and a brand-new body of large-scale works, which are a continuation of her iconic ‘Waterfall’ series first begun in 1988. Bringing abstraction and conceptualism together into a uniquely lyrical coexistence, Pat Steir has spent more than five decades generating her visually arresting and intellectually rigorous oeuvre, expanding our understanding of the value of both control and chaos within art.

At 37 feet wide and 11 feet high, Pat Steir’s breathtaking ‘Blue River’ is the first work visitors encounter in the gallery. The largest single painting on canvas the artist has ever created, it is comprised of an enormous and seemingly boundless veil of blue bordered by sheets of oscillating red and silver. This work evokes not only the fluidity of water and paint, but also the vastness of the universe and its unfathomable power. An immense, durational work, 'Blue River' seems to point toward the river of time. It envelops the viewer, inviting reflection and meditation, and creating space for thoughts and feelings to ebb and flow like the unpredictable currents.

Pat Steir has said, ‘I paint water often, but don’t depict it; it is the paint itself that flows.’ This phenomenon is especially evident in Steir’s new series of ‘Rainbow Waterfalls,’ a radiantly colorful extension of the artist’s earlier black and white ‘Waterfall’ paintings. That acclaimed body of work was developed through the artist’s innovative technique of pouring, flinging and throwing paint onto canvas, embracing the inherent fluidity of the medium and utilizing gravity and chance to determine outcomes. In the latest incarnation of the series, Pat Steir has replaced black and white with an investigation into primary colors––red, yellow and blue––producing a prismatic effect in pursuit of determining equal value and space for each pigment.

To create the ‘Rainbow Waterfalls,’ Pat Steir first mapped out the compositions with chalk lines, establishing grids to guide where paint will land. While these faint white lines will blow away over time, some remain faintly visible in the final works––a remnant of one of the few elements of order Steir maintains over the works. Her canvases are primed in green, enabling the background to impart a distinct glow from behind. Afterward, Steir’s chosen pigments take the lead––cascading down the surface with the full story of their journey only revealed in the edges of the canvas. Patient observation rewards the viewer: the more time is spent looking at the paintings, the more dramatic their differences and details appear.

Pat Steir

Rainbow Waterfall #5, 2022

Oil on canvas

274.3 x 274.3 cm / 108 x 108 inches

© Pat Steir. Courtesy the artist and Hauser & Wirth

Photo: Elisabeth Bernstein

PAT STEIR

Born in Newark, New Jersey in 1938, Pat Steir is among the great innovators of contemporary painting. She first came to prominence in the late 1970s and early 1980s for her iconographic canvases and immersive wall drawings. By the late 1980s, her inventive approach to painting—the rigorous pouring technique seen in her Waterfall works, in which she harnessed the forces of gravity and gesture to achieve works of astonishing lyricism—attracted substantial critical acclaim. Informed by a deep engagement with art history and Eastern philosophy, and a passion for artistic advocacy in the both the visual and literary realms, Pat Steir’s storied five-decade career continues to reach new heights through an intrepid commitment to material exploration and experimentation. As much as Pat Steir’s process embraces chance, she retains complete command over the basic parameters. It is a harmonious collaboration between control and chaos, ‘chance within limitations.’ A remarkable synthesis of conceptualism, minimalism, and abstraction that challenges the postwar American canon, Pat Steir’s practice remains limitless.

HAUSER & WIRTH NEW YORK

542 West 22nd Street, New York, NY 10011

www.hauserwirth.com

Kenneth Noland @ Yares Art, New York – Context is the Key, Paintings: 1958-1970

Kenneth Noland 

Context is the Key, Paintings: 1958-1970

Yares Art, New York

October 9, 2021 – February 26, 2022

Kenneth Noland 

Fete, 1959

Magna on canvas, 69 x 68 ½ in. (175.3 x 174 cm)

© The Estate of Kenneth Noland, courtesy Yares Art

Yares Art  presents Kenneth Noland: Context is the Key, Paintings: 1958-1970, an exhibition of more than thirty works by one of the twentieth century’s most radical and influential American painters. The show focuses on abstract compositions that Kenneth Noland produced from 1958 to 1970, which had a significant impact on the course of contemporary art. These compositions with bold, spare, captivating forms and sumptuous color relationships, emphasize the objecthood of the artwork and the flatness of the picture plane. At the time they were painted, Kenneth Noland’s artworks were viewed as surprising and daring. Now widely acknowledged as classics of post-war abstraction, they are still as audacious and imposing as ever—and their influence may be observed today in the work of younger generations of artists.

Among the highlights of the show are examples of Kenneth Noland’s most appreciated series of early large-scale works, including the Circles, Chevrons, Diamonds, and Stripes. Fete (1959), one of the artist's most iconic Circles, is composed of a precisely executed blue dot inside concentric bands of poured and splashed blue, yellow, and black paint emanating from hard-edge inner circles of white and blue. Pierced along the outer edge are five irregular, diagonal black lines. The work effectively bridges Abstract Expressionism with the then-nascent Color Field movement in painting, of which Kenneth Noland was a principal leader. Half Time (1964), one of the artist's seminal Chevron paintings, depicts a green triangle and equivalent bands of purple, brown, red, and orange pressing from the top center toward the bottom of a blaring white field. The stark composition corresponds to the Minimalist aesthetic in avant-garde painting of the time.

Kenneth Noland’s passion, however, lay in the various ways color can activate the surface of the canvas, even in its most lightly nuanced manifestations, as in the diamond-shaped canvas Datum (1966) with its four diagonal bands of analogous tones of blues and gray-greens. Five richly colored horizontal bands of equal proportions - with one extremely thin, almost silent band atop, stretching the entire length of Kenneth Noland.

KENNETH NOLAND (1924 - 2010)

Kenneth Clifton Noland was born in Asheville, North Carolina, in 1924. After serving in the Army Air Forces, he enrolled in the fabled Black Mountain College, where he studied with Bauhaus maestro Josef Albers, abstractionist Ilya Bolotowsky, architect Buckminster Fuller, and composer John Cage. Noland’s first New York solo show was held at the Tibor de Nagy gallery in 1957. Since then, his work has been the subject of numerous gallery and museum solo exhibitions worldwide. He died, age 85, at his home in Port Clyde, Maine, in 2010.

Kenneth Noland participated in the 1964 Venice Biennale, and the Solomon R. Guggenheim Museum, New York, hosted his first retrospective in 1977, which traveled to the Corcoran Gallery of Art, Washington, DC, and the Toledo Museum of Art, Ohio.

His work is included in many of the world’s most prestigious museums, including the Albright-Knox Art Gallery, Buffalo; Art Institute of Chicago; Australian National Gallery, Canberra; Hirshhorn Museum and Sculpture Garden, Washington, DC; Kunstmuseum, Basel; Los Angeles County Museum of Art; Metropolitan Museum of Art, New York; Centre Georges Pompidou, Paris; Museum of Fine Arts, Boston; Museum of Modern Art, New York; Stedelijk Museum, Amsterdam; Tate Gallery, London; and Walker Art Center, Minneapolis, among numerous others.

YARES ART

745 Fifth Avenue, New York, NI 10151

www.yaresart.com

Ken Greenleaf @ Berry Campbell Gallery, NYC - Recent Work

Ken Greenleaf: Recent Work

Berry Campbell, New York

October 14 — November 13, 2021

Berry Campbell presents Ken Greenleaf: Recent Work. This special exhibition features sixteen new paintings and wall sculptures from the artist’s three new series. Ken Greenleaf is a committed modernist working in the minimalist tradition whose work is embedded in a philosophical and theoretical framework. Most recently, Ken Greenleaf’s artistic practice has been comprised of three series: Noise Signal, 3-Body, and streamlined shaped canvas paintings. Through his work, Ken Greenleaf continues the engagement with relations between shapes and materials that have been the central focus of his art. While comprised of geometric forms, Ken Greenleaf’s art has a freeform aspect, forcing us to mentally organize what we’re seeing into “ideas.” He perceives the edges of his shaped surfaces, the color of his raw canvases, and the borders of his painted areas as “direct essays in understanding how we apprehend what we see and how we recognize what is real.” The tension between flatness and the feeling of and desire for illusion in Ken Greenleaf’s art brings us to a place between raw sensation and the conceptual, which is ultimately a metaphysical one.

Ken Greenleaf, whose art has been shown widely at galleries and museums since the early 1970s, was recently included in Here and There at Cove Street Arts, Portland, Maine, curated by David Row. The exhibition featured sixteen artists who demonstrate and continue the longstanding connection between the art worlds of New York and Maine, including Katherine Bradford, Yvonne Jacquette, Cecily Kahn, Clair Seidl, and Don Voisine.

This exhibition is accompanied by a 16-page catalogue with an essay by art critic and historian, Phyllis Tuchman.

BERRY CAMPBELL 

530 West 24th Street, New York, NY 10011

www.berrycampbell.com

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Minimalism: Space. Light. Object @ National Gallery Singapore

Minimalism: Space. Light. Object.
National Gallery Singapore
Through 14 April 2019

National Gallery Singapore's Facade

(c) National Gallery Singapore

Organised by National Gallery Singapore in collaboration with ArtScience Museum at Marina Bay Sands, Minimalism: Space. Light. Object. is the first survey of Minimalist art held in Southeast Asia, and the first major Minimalism exhibition to include artists from this region as part of an expanded global perspective on the movement.

One of the most influential art movements of the 20th century, Minimalism offers a powerful new way of experiencing art. Rather than referencing the world outside, its simple forms invite us to contemplate what’s physically before us in the present moment. This fundamental shift was inspired by the questioning of the role of art during the 1960s amidst great social change. It spurred a search for new forms of consciousness, with important inspirations being Asian spirituality such as Zen Buddhism and the I Ching, and emerging ideas on perception.

Minimalism contributed to the transformation of how artists use materials and space, and how they involve the viewer. This has been fundamental to the development of contemporary art forms including installation and performance art.

Dr. Eugene Tan, Director of National Gallery Singapore, said, “While Minimalism has had a significant impact on contemporary design and lifestyle in Asia, its relationship to art in the region has been less well understood. This exhibition will examine the relationship of Minimalism to art in Asia, as well as the influence that Asian spirituality and philosophy had on its origins. In so doing, the exhibition will re-evaluate the received understanding of Minimalism as a development of the Euro-American paradigm of formalist modernism. The exhibition will further examine the connections and the legacies that this important movement has had on contemporary artists today. This is in keeping with the Gallery’s perspective of modern art as a global phenomenon that results from complex and interconnected developments happening all around the world.”

The exhibition features around 150 works of art by over 80 artists and 40 composers spanning two venues. Visitors can trace the development and rich legacies of Minimalist art and ideas from the 1950s to the present day at the Gallery, before delving into key aspects of the artistic tendency including colour and spirituality at the ArtScience Museum. The exhibition will also shed light on the ongoing engagement of Minimal art with Asian art and philosophy, and the contribution of Asian artists to a wider discourse of Minimalism.

Honor Harger, Executive Director of ArtScience Museum noted, "Playing to our strength as a museum of art and science, we have also chosen to present artworks which meditate on the notions of the cosmological void, emptiness and nothingness—principles which resonate with both Minimalism and science. The exhibition at ArtScience Museum creates dialogue between the scientific notion of the vacuum and the Zen Buddhist idea of the void. Sound and silence also form a major part of the exhibition, with 40 musicians and composers presented in our Sound Room, which acts as an auditory counterpoint to the visual explorations of Minimalism presented within the galleries."

Featuring many iconic works that have never been shown before in Southeast Asia, the exhibition begins with a focus on ­how Minimalism moved from colour-field painting to Minimalist objects in series and geometric shapes in the 1960s. Subsequent artistic tendencies in favour of more open, expressive forms emerged, including Land art, Process art, Performance, and the use of light and cutting-edge technologies to transform the space and alter viewers’ perception and experience.

The exhibition also features a range of contemporary works from around the world that employ Minimalist forms and ideas to advance social engagement and commentary. These include three major new commissions, by artists Sopheap Pich from Cambodia, Jeremy Sharma from Singapore and Frederik De Wilde from Belgium.

Reflecting Minimalism’s involvement of audiences in the experience of art, British artist and Turner Prize winner Martin Creed presents Work No. 1343 for the first time in Asia at the Gallery’s Gallery & Co cafeteria. This is a new edition of his well-known restaurant project in which no single item is the same, from utensils to crockery to furniture.

Minimalism also had an extraordinary influence on music, the performing arts, cinema, literature, design and fashion. Visitors are invited to experience the experimental and collaborative aspects of Minimalism through a changing programme of performances and moving image works. They include a one-night only dance presentation by the acclaimed TAO Dance Theatre from China, at ArtScience Museum, and performances by students from LASALLE College of the Arts, and visionary pianist Margaret Leng Tan – a recipient of Singapore’s Cultural Medallion - at the Gallery. ArtScience Museum also presents Minimalist music and sound art by over 40 composers, including a new composition by Singapore-based Malaysian musician, Adeline Wong. These special programmes, that introduce artists and scholars from diverse backgrounds, enrich our understanding of Minimalism’s impact on today’s art and lifestyle.

Minimalism: Space. Light. Object. is curated by Eugene Tan, Russell Storer, Silke Schmickl and Goh Sze Ying from National Gallery Singapore, and Adrian George and Honor Harger from ArtScience Museum.

NATIONAL GALLERY SINGAPORE
1 St Andrew's Rd, Singapore 178957
www.nationalgallery.sg

Sol LeWitt: The Complex Form, Dorfman Projects, NYC

Sol LeWitt: The Complex Form
Dorfman Projects, New York
September 15 – October 30, 2010 

Dorfman Projects presents Sol LeWitt: The Complex Form, a focus exhibition exploring Sol LeWitt's study of the complex form through works on paper, ephemera and sculpture, with a spotlight on his 1988 monumental work in metal, Complex Form #6.

Although Sol LeWitt is typically regarded as both a minimalist and a conceptual artist, this period of work, which ranged from the mid 80's to early 90's, represents a zenith in his exploration of geometry and a step away from the minimal. Aptly named, the complex forms incorporate more complicated shapes, non-right angles, and compositions defined by juxtaposition rather than systematic organization.

From the start of his career, Sol LeWitt followed his fascination with the cube, using it as unit, medium, and subject for many of his most iconic works. Over time however, Sol LeWitt opened up to different types of building blocks for his constructions. Beginning with elemental forms such as the triangle and pyramid, Sol LeWitt's compositional play led him to include more irregular shapes such as parallelograms and quadrilaterals. In the most mature examples of this extensive body of work, which includes drawing, sculpture, prints, and monumental wall drawings, Sol LeWitt developed complex arrangements that contain a diversity of geometric forms within a single piece.

Though Sol LeWitt had by no means exhausted the cube completely—he continued to work with it until the end of his life—the complex form period remains one of the most intriguing and least studied phases of his career. The sculpture on view, Complex Form #6, is in many ways the finest and most evolved example of a complex form. Through the dynamic addition and subtraction of shapes, this large-scale work makes an exhaustive study of angles that change constantly in relation to the viewer's position around it. Unlike earlier work that meticulously adhered to systems and order, these complex pieces personify quiet and studied rebellion. With supporting prints, sculpture, and ephemera, this exhibition illustrates the evolution of LeWitt's process and his arrival at this culminating masterpiece.

SOL LEWITT was born in Hartford, Connecticut in 1928 and died in New York City in 2007. His work has been exhibited extensively worldwide. To name only a few examples, in 2000, the San Francisco Museum of Modern Art hosted a major retrospective (which travelled to the Museum of Modern Art, Chicago and the Whitney); in 2006 Dia: Beacon hosted a large scale exhibition of wall drawings called Drawing Series...; and in 2008, the Yale University Art Gallery, Mass MoCA, and the Williams College Museum of Art collaborated to present Sol LeWitt: A Wall Drawing Retrospective, which will remain at Mass MoCA for the next 25 years.

DORFMAN PROJECTS
529 West 20th Street #7E, New York, NY 10011
www.dorfmanprojects.com

Updated 06.07.2019

Noah Davis: Nobody, Roberts & Tilton, Culver City

Noah Davis: Nobody 

Roberts & Tilton, Culver City 

October 11 – November 8, 2008 

For his first solo exhibition, Nobody, NOAH DAVIS has created a series of highly political abstract paintings. Noah Davis selects purple as the sole color on each of the three large-scale canvases. While the current socio-political atmosphere is prevalent in this Election year, the works remain fundamentally formal in appearance. Davis remarks on basic principles of composition and color theory, bringing to mind the early abstractions of Arthur Dove, the Minimalist drawings of Richard Serra and Paul Rand in his approach to Corporate graphic design. Titled, 2004, the series of new work is intended as fashionable paintings for 2008. These paintings are intended as historical documentation; each painting's seemingly compositionally arbitrary form is in fact the shape of a United States "swing state" in the 2004 presidential election. These paintings are as much about painting as they are about the politics of painting; Noah Davis presents documentation paintings that exhibit a misunderstanding of politics, and the politics of art.

ROBERTS & TILTON

5801 Washington Boulevard, Culver City, CA 90232

www.robertsandtilton.com

Lorser Feitelson, Washburn Gallery, NYC - 10 Paintings Los Angeles The 1960s

Lorser Feitelson

10 Paintings Los Angeles The 1960s

Washburn Gallery, New York

May 9 – July 21, 2006

The Washburn Gallery presents the first New York exhibition of paintings by the California artist, Lorser Feitelson (1898-1978), since his Whitney Museum Memorial in 1979. Lorser Feitelson's previous New York exhibition was held at The Daniel Gallery in 1925.  The exhibition at the Washburn Gallery concentrates on Lorser Feitelson's linear paintings of the 1960s: their perfect surfaces, technicolors and remote elegance suggest the emerging Los Angeles art scene in those years. James Fitzsimmons wrote about Lorser Feitelson in the 1977 October – November issue of Art International and in particular of the 1960s as follows:

In 1963, Feitelson began the series of minimal line paintings and found himself so intrigued with the quality of the lines as lines rather than as descriptions of form that he decided to concentrate exclusively on the linear element. In the series which followed this decision, a process of minimalization occurred inwhich form and color were greatly simplified. Feitelson did not consider this reduction as an end in itself, but rather as a means of eliminating elements which might otherwise detract from the all-important line.

WASHBURN GALLERY

20 West 57 Street, New York, NY 10019

www.washburngallery.com

Helen Mirra, Stephen Friedman Gallery, London

Helen Mirra

Stephen Friedman Gallery, London

21 March – 19 April 2003

Stephen Friedman Gallery presents the first solo exhibition in London of new works by Chicago-based artist Helen Mirra.

Helen Mirra's varied practice includes sculpture, film, video, language and sound. The artist's minimalist works often refer to the earth, sea and sky through the consistent use of a green, blue and brown palette. Throughout her practice, an interest in the relationship between the natural world and the people who inhabit it motivate works that are elegant and poignant. A further interest in both cinema history and film structure manifests most explicitly in an ongoing group of works made of lengths of 16mm cloth, which Helen Mirra thinks of as "silent silent films".

In the front gallery, the floor sculpture Sky-wreck is constructed of large triangles cut from a coarse indigo cloth. Fragments of a flattened polyhedral form, Sky-wreck materializes an idea of the sky as firmament, literally mapping a section. A distopic Paul Celan poem and the utopian experiments of Buckminster Fuller are reference points in this sculpture.

In the back gallery, Helen Mirra presents Arrow, a sound and video work in which images of the violent Babylonian tomboy "The Mountain Girl" (Constance Talmadge) from D.W. Griffith's epic Intolerance (1916), appear briefly out of complete darkness. The work is made with the structure and timing of a thunderstorm: the flashes of image have the irregular lengths of lightning and guitar and bass parallel rain and thunder. The work can be seen as a meditation on both natural and human manifestations of violence.

Helen Mirra has exhibited in the United States and Europe. Recent solo shows in 2002 have been held at The Renaissance Society, Chicago and the Whitney Museum of American Art in New York. Group shows in 2003 include Paper Sculpture at the Sculpture Center, New York, USA; Land, Land!, at Kunsthalle Basel, Switzerland and in 2002, Art Projects, curated by James Rondeau, Art Basel, Miami, USA; Here and Now, Chicago Cultural Center, Chicago; Sudden Glory, CCAC Institute, San Francisco, USA; and in 2001, Tirana Biennial, Albania.

STEPHEN FRIEDMAN GALLERY

25-28 Old Burlington Street, London W1S 3AN

www.stephenfriedman.com

Dan Flavin, Chiesa Rossa and Fondazione Prada, Milan

Dan Flavin 
Chiesa Rossa and Fondazione Prada, Milan
29 November 1997 - 31 January 1998

The Fondazione Prada presents two important projects by Dan Flavin (1933-1996) who, with Sol Le Witt, Donald Judd, Robert Morris and Carl Andre, was one of the main protagonists of the American minimalist art movement: Untitled 1996 is a permanent installation at the church Santa Maria in Chiesa Rossa while Works 1964 - 1981 is a selection of historically important works housed at the Fondazione Prada itself.

The work at the Chiesa Rossa was the last project conceived and designed by Dan Flavin before his death, and consists of a permanent site-specific installation donated to the Chiesa Rossa by the Fondazione Prada. This system of fluorescent lights was especially designed by the artist for the main nave and transepts of the Chiesa Rossa, perhaps with the intention of bringing a metaphysical dimension to the immateriality of his minimalist work.

The installation consists of fluorescent tubes of different colours and lengths which are placed horizontally and vertically, symmetrically and asymetrically about the space which, combined with the architecture of renowned architect Giovanni Muzio who designed the Chiesa Rossa in 1932, create a spectacular visual effect. This work continues the tradition of dialogue between visual research and places of worship, a significant theme in modern and contemporary art as well as in architecture from Matisse to Rothko, from Nevelson to Cucchi. The project also owes its existence to the cultural and pastoral initiatives of Don Giulio, parish priest at the Chiesa Rossa.

The second project involves two thematic installations of Dan Flavin's works at the Fondazione Prada of Milan curated by Michael Govan, director of the Dia Center for the Arts in New York.

The first of these consists of works of the series European Couples, 1966-1976, a group of six 8 ft.-wide squares of fluorescent tubing, each in a different colour. The composition is extremely simple: in each set of four tubes, the two vertical ones are pointed towards the wall while the horizontal ones are aimed towards the installation space. Each ensemble is placed diagonally with respect to the corner of the room. The Milan exhibition use a linear architectural layout designed by Dan Flavin himself.

The second part of the show consists of a selection of Monuments for V.Tatlin, 1964-1981. These pseudo-monuments - Dan Flavin used the term 'pseudo' to underline the ephemeral and temporary effect of the fluorescent tubes which produce light for 2100 hours before burning out - call to mind the image of the Monument at the Third International by Tatlin. They become an homage to the fleeting and communicative existence of light. This presentation also makes use of a zigzag architectural project conceived by the artist and so both European Couples and Monuments for V .Tatlin may be considered as fresh, new readings and re-presentations of historical works by this classic minimalist.

Because of the complexity of this ambitious project which documents the meeting between a contemporary artist and architecture, in particular that of the historic Chiesa Rossa designed by Muzio, the Fondazione Prada has decided to produce a book that brings together reflections and theoretical essays on the interweaving of art and the sacred, contemporary research and places of worship, sculpture and the church, a space of ritual socialisation and an imaginary one. The main aim of this volume, edited by Germano Celant, is to decode or interpret the relationships existing between religious and secular projects in order to identify a point of cohesion or osmosis between the two different perspectives. For this reason theoreticians, philosophers, architects and historians such as Carlo Bertelli and Germano Celant, Hubert Damish and Christine Gluckman, Michael Govan and Vittorio Gregotti, Fulvio Irace and Don Pier Luigi Lia, Mario Perniola and Gianni Vattimo have been invited to write on this theme.

FONDAZIONE PRADA, MILAN
www.fondazioneprada.org

Donald Judd, Susan Inglett Gallery, NYC - Drawings

Donald Judd: Drawings
Susan Inglett Gallery, New York
23 May - 29 June 1996

Susan Inglett presents an exhibition of drawings by DONALD JUDD curated by David Platzker.

While Donald Judd was best known for his sculptures, or "specific-objects", his drawings present the best rare evidence of the artist's own hand.

For the Minimalists, absence of hand was as much an artistic gesture as a political one. In their efforts to redefine and perfect the art object, Donald Judd and contemporaries including Dan Flavin, Carl Andre, and Robert Morris, regularly engaged professional fabricators. By doing so drawing became a necessary tool to communicate the particulars of the work to be executed.

Additionally, Donald Judd made drawings in order to document sculpture produced or as project proposals. The drawings presented in this exhibition dated 1964 to 1984 describe proposals for a selection of metal and concrete sculptures.

They are, in essence, the raw material from which Donald Judd would hone, refine, perfect his consummate "specific-object".

SUSAN INGLETT GALLERY
100 Wooster Street, New York
www.inglettgallery.com