A group of voices accompanies me in the exhibition. They are singing words I cannot comprehend, yet the warm tunes are familiar: folk songs, love songs, songs of longing. There are letters, too. They speak of the quotidian details of a soldier's life: the hardness of the war, sending money to the family, and longing for familiar landscapes, food,...
There has been a flurry of triennial and biennial art activity in Japan this year. The Aichi Triennale opened in Nagoya this August, sparking a national debate about the shutting down of a display of formerly censored works—the result of public backlash against a burnt image of Emperor Hirohito and a statue commemorating the women forced into...
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...
Lehmann Maupin is pleased to present cart, horse, cart, a group exhibition that spans both of the gallery’s Chelsea locations, co-organised by Curator Michael Goodson and Lehmann Maupin Curatorial Director Anna Stothart. The exhibition brings together the work of 15 artists, three of whom—McArthur Binion, Angel Otero, and Lari Pittman—are part of the Lehmann Maupin program. The works presented emerge from more traditional formal, material, and spatial concerns, while also explicitly engaging with social, political, and psychological areas of influence to expand the established narrative traditionally used to answer the question, 'Where does abstraction come from?'
There will be an opening reception with the artists on Thursday, June 20, at 536 West 22nd Street and 501 West 24th Street from 6 to 8 pm.
Comprised of an accomplished and diverse group of artists, this exhibition explores the intrinsic, rigorous, hybrid, and systematic qualities these artists pursue within their individual practices. The viewer is thus encouraged to consider a more expansive view of abstraction that includes, but is not limited to, personal and shared histories, cultural specificity, modes of identify, and of course, process.
cart, horse, cart was inspired by an exhibition Michael Goodson curated at the Wexner Center for the Arts in 2018, titled Inherent Structure. That exhibition, which featured 60 multigenerational artists from Sam Gilliam, to Laura Owens, to Angel Otero, reinterpreted abstraction’s historical associations with chance, gesture, and aesthetic purity, sparking a dialogue between Stothart and Goodson. This presentation is the outcome of that exchange, intending to illustrate how contemporary practices emerge not only from formal conventions of painting, but also from empirical conditions unique to each artist and their process. The title of the exhibition alludes to the non-linear and often intuitive nature of creating a work of art, particularly relevant as it speaks to the process, form, content, and installation associated with abstraction.
While artists like Angel Otero, Tomashi Jackson, and Molly Zuckerman-Hartung push against the confines of the shape of the standard canvas and stretcher bar to create paintings that activate the space they occupy, others such as Sarah Cain, Beverly Fishman, and Donald Moffett explore materiality as a way to deal with the rigorous content of each work. Together, the artists featured in cart, horse, cart explore the myriad styles and underlying systems artists continue to consider by reexamining the complex foundations and assumptions embedded in abstraction.
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