Pierre Huyghe is a producer of spectacular and memorable enigmas, with works that function more like mirages than as objects. Abyssal Plain (2015–ongoing), his contribution to the 2015 Istanbul Biennial, curated by Carolyn Christov-Bakargiev, was installed on the seabed of the Marmara Sea, some 20 metres below the surface of the water and close to...
In the early decades of its existence, New York's Museum of Modern Art (MoMA), founded in 1929, transformed from a philanthropic project modestly housed in a few rooms of the Heckscher Building on the corner of Fifth Avenue and 57th Street, to an alleged operating node in the United States' cultural struggle during the cold war, and one of the...
Hans Hartung and Art Informel at Mazzoleni London (1 October 2019-18 January 2020) presents key works by the French-German painter while highlighting his connection with artists active in Paris during the 50s and 60s. In this video, writer and historian Alan Montgomery discusses Hartung's practice and its legacy.Born in Leipzig in 1904, Hans...
This book is published in conjunction with the exhibition Plastic Show, organized by DeWain Valentine, held at Almine Rech Gallery London, from February 9th to March 25th, 2017.
Almine Rech Gallery London presented Plastic Show, a selection of works by seminal California artists from the Light and Space movement: Mary Corse (b. 1945), Robert Irwin (b. 1928), Craig Kauffman (1932–2010), John McCracken (1934–2011), and DeWain Valentine (b. 1936)–five artists who, through a series of individual explorations, went on to investigate the broad potential that plastics (i.e., synthetically produced resins) could yield.
Known for their pioneering work with various synthetic resins and synthetic polymers during the 1960s and ‘70s, these artists are today recognised not only for their active roles in the development of plastics as a newly discovered medium in art, but also for their sophisticated techniques and at times even quasi-acrobatic prowess required to shape them into the seamless, translucent, luscious volumes.
These five artists were indeed hailed as trailblazers within the movement designated as Light and Space, which also carried over the allusive quip 'finish fetish aesthetic' to new and unforeseen dimensions. The term 'finish fetish' had been coined by artist-critic-curator-editor John Coplans and referred to the meticulous emphasis on superbly polished surfaces that became a signature mark of the group.
Organised by DeWain Valentine.
Featuring Works by Mary Corse, Robert Irwin, Craig Kauffman, John McCracken, DeWain Valentine.
Essay by Joachim Pissarro.
24 x 33 cm, 9 1/2 x 13 inches
Edition of 800
Almine Rech Gallery Editions
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