Skip to content

Installations

Installations Thumbnails

Photography by Tom Powel Imaging

Photography by Tom Powel Imaging

Photography by Tom Powel Imaging

Photography by Tom Powel Imaging

Photography by Tom Powel Imaging

Photography by Tom Powel Imaging

Photography by Tom Powel Imaging

Photography by Tom Powel Imaging

Photography by Tom Powel Imaging

Photography by Tom Powel Imaging

Photography by Tom Powel Imaging

Photography by Tom Powel Imaging

Photography by Tom Powel Imaging

Photography by Tom Powel Imaging

Photography by Tom Powel Imaging

Photography by Tom Powel Imaging

Photography by Tom Powel Imaging

Photography by Tom Powel Imaging

Photography by Tom Powel Imaging

Photography by Tom Powel Imaging

Photography by Tom Powel Imaging

Photography by Tom Powel Imaging

Photography by Tom Powel Imaging

Photography by Tom Powel Imaging

Photography by Tom Powel Imaging

Photography by Tom Powel Imaging

Press Release - OLD

Mnuchin Gallery will open its fall season with Minimalism & Beyond, an exhibition exploring Minimalism and its legacy in contemporary art from the second half of the twentieth century through the present day. Opening September 13 and on view through October 18, 2017, it will be accompanied by a fully illustrated catalogue authored by Pac Pobric.

 

The exhibition will present Minimalist masterworks of the 1960s alongside painting and sculpture of the following decades that both elaborate upon and disrupt Minimalism’s formal language to a diverse range of ends, from the playful and the personal to the subversive and the political. Taking as its starting point iconic works by Carl Andre, Dan Flavin, Donald Judd, Agnes Martin, Robert Ryman, and Frank Stella, the exhibition continues with Postminimalist figures such as Eva Hesse, Robert Morris, On Kawara, and Bruce Nauman. It carries on with works from the 1980s and 90s by artists including Robert Gober, Felix Gonzalez-Torres, David Hammons, Jeff Koons, Cady Noland, and Christopher Wool. The exhibition culminates with contemporary examples by Carol Bove, Wade Guyton, Rashid Johnson, Glenn Ligon, and Rudolf Stingel, artists who employ the supposedly "neutral" aesthetic tropes of Minimalism to explore the politics of race, class, and technology.

 

At its outset Minimalism arose as a reaction to the exuberant individualism of Abstract Expressionism, turning away from its manifestation of the psychological state of the artist. Early practitioners retained the abstract component of their predecessor’s work while using basic geometric forms to hone in on the characteristics of the medium. Donald Judd’s idea of the Specific Object, neither painting nor sculpture, encompassed Minimalism’s attempt to reduce artworks to their unique essence. Rejecting any attempts to find narrative meaning in his work, Frank Stella famously told Bruce Glaser in 1966, “What you see is what you see,” coining a phrase which became a framework for understanding early Minimalist art. Stella strove for an abstraction predicated on the nature of paintings. In Creede I and Creede II, both 1961, Stella’s signature bands replicate the shape created by the canvas on its stretcher while emphasizing its flatness.

 

Moving into the 1980s artists continued to explore Minimalist ideas about specificity and economy of form, but pared down their work with the intent of maximizing suggested meaning rather than removing it. The seemingly effortless suspension of basketballs in Jeff Koons’ Two Ball Total Equilibrium Tank (Spalding Dr. J Silver Series, 1985) belies the complex calibration that keeps them afloat. The basketballs symbolize the spectacle of professional athletics, the elusive dream of court stardom that inspires monumental determination and struggle for so many only to be achieved by a small few. On Kawara’s monochromatic date paintings each record a discrete unit of time, the day they were created. Evoking at once the universal drumbeat of time marching on and the personal temporality of the quotidian, the formal austerity of each painting elucidates, rather than eliminates, the possibilities beyond it.

 

By the beginning of the 21st century, artists had broken open Minimalist techniques in service of questioning the societal structures and cultural tropes that define our time. Glenn Ligon’s Untitled (Stranger in the Village #17), 2000 is printed with text from James Baldwin’s essay “Stranger in the Village” about being the first African American to visit a Swiss town. The overwhelming darkness of the painting renders the text barely legible, a metaphor for the racial dynamics of visibility/invisibility and the capacity of language to address these dynamics. Rudolf Stingel’s Untitled, 2004 considers the classic dichotomy between “decorative” and “fine” art. Its opulent gold sheen and decadent pattern play into perceptions of art world excess and the ever-increasing threshold of record auction prices.

 

The elimination of the artist’s hand that began in the 1960s comes full circle with Wade Guyton, who replaces human touch with that of a machine. For his fire paintings, as in Untitled, 2006, Guyton uses an inkjet printer to “paint” a found image on linen, sublimating his control within the variability of technological error. Guyton highlights the narrowing interface between traditional image-making and the growing insertion of digital devices and languages into every facet of life. Neither “painting” nor sculpture, Guyton proves the persistent relevance of Judd’s Specific Object, foreshadowing its applicability to the future of art-making as the digital hand becomes inseparable from the human.

Selected Works

Selected Works Thumbnails

Christopher Wool
Untitled
1995
enamel on aluminum
84 x 60 inches (213.4 x 152.4 cm)

Jack Whitten
Taf I
1978
acrylic on canvas
40 1/4 x 68 1/4 inches (102.2 x 173.4 cm)

Rudolf Stingel
Untitled
2004
oil and enamel on canvas
82 7/8 x 67 1/8 inches (210.5 x 170.5 cm)

Frank Stella
Creede I
1961
Copper oil paint on canvas
82 1/2 x 82 1/2 inches (209.6 x 209.6 cm)

Frank Stella
Creede II
1961
copper oil paint on canvas
82 3/4 x 82 3/4 inches (210.2 x 210.2 cm)

Richard Serra
Plate Roll Prop
1969
lead
48 x 48 x 59 1/16 inches (121.9 x 121.9 x 150 cm)

Robert Ryman
Stamp
2002
oil on canvas
14 x 14 inches (35.6 x 35.6 cm)

Robert Ryman
Link
2002
oil on linen with four steel fasteners and four six-sided bolts
76 x 72 inches (193 x 182.9 cm)

Cady Noland
Bloody Mess
1988
carpet, rubber mats, wire basket, headlamp, shock absorber, handcuffs, beer cans, headlight bulbs, chains and police equipment
dimensions variable

Bruce Nauman
Henry Moore Bound to Fail (Back View)
1967-70
cast iron
25 1/2 x 24 x 2 1/2 inches (64.8 x 61 x 6.4 cm)

Robert Morris
Untitled
1967/1995
felt and metal
76 1/2 x 119 7/8 x 3/4 inches (194.5 x 304.5 x 2 cm)

Agnes Martin
Untitled #9
1988
acrylic and graphite on canvas
72 x 72 inches (182.9 x 182.9 cm)

Brice Marden
Blue Horizontal
1986-87
oil on linen
84 x 120 inches (213.4 x 304.8 cm)

Glenn Ligon
Untitled (Stranger in the Village #17)
2000
acrylic, oilstick, coal dust and resin on canvas
78 1/4 x 132 1/4 inches (198.8 x 335.9 cm)

Yayoi Kusama
INFINITY-NETS (QRTWE)
2007
acrylic on canvas
76 1/2 x 102 inches (194.3 x 258.8 cm)

Jeff Koons
Two Ball Total Equilibrium Tank (Spalding Dr. J Silver Series)
1985
glass, steel, sodium chloride reagent, distilled water, two basketballs
62 3/4 x 36 3/4 x 13 1/4 inches (159.4 x 93.3 x 33.7 cm)

On Kawara
May 21, 1985
1985
liquitex on canvas
26 x 36 inches (66 x 91.4 cm)

Donald Judd
Untitled (Bernstein 90-01)
1990
black anodized aluminum with clear Plexiglas
10 units, each 9 x 40 x 31 inches (22.9 x 101.6 x 78.7 cm)

Rashid Johnson
Falling Man
2017
branded red oak flooring, mirror, black soap, wax, spray enamel, Shea butter, ceramic, plant
96 1/2 x 72 1/2 x 12 1/4 inches (245.1 x 184.2 x 31.1 cm)

Eva Hesse
Nine Circles
1968
watercolor and gouache over metallic gouache on ivory paper
22 1/4 x 15 inches (56.5 x 38.1 cm)

Wade Guyton
Untitled
2006
Epson Ultrachrome inkjet on linen
90 x 53 inches (228.6 x 134.6 cm)

Mark Grotjahn
Dark Blue III
2006
oil on linen
60 x 50 inches (152.4 x 127 cm)

Felix Gonzalez-Torres
"Untitled" (Last Light)
1993
light bulbs, plastic light sockets, extension cord, dimmer switch
overall dimensions vary with installation

Robert Gober
Prison Window
1992
plywood, forged iron, plaster, latex paint, lights
window: 48 x 53 x 36 inches (121.9 x 134.6 x 91.4 cm) with 24 x 24 inch (61 x 61 cm) opening

David Hammons
Untitled
1989
glass and silicone glue
38 x 38 1/2 x 13 inches (97 x 98 x 33 cm)

Dan Flavin
the diagonal of May 25th, 1963
1963
soft white fluorescent light
96 inches (243.8 cm)

Urs Fischer
Colorful Personal Ecstasies
2014
paraffin wax, microcrystalline wax, encaustic pigment, aluminum, aluminum leaf, wicks
2 7/8 x 95 3/4 x 4 7/8 inches (7.3 x 243.2 x 12.4 cm)

Carol Bove
Third White Sweater Painting
2016
acrylic on canvas
48 x 60 inches (121.9 x 152.4 cm)

Carl Andre
64 Zinc Square
1968
zinc
64-unit square (8 x 8)
each: 3/8 x 9 7/8 x 9 7/8 inches (1 x 25 x 25 cm)
overall: 3/8 x 78 3/4 x 78 3/4 inches (1 x 200 x 200 cm)

Christopher Wool
Untitled
1995
enamel on aluminum
84 x 60 inches (213.4 x 152.4 cm)

Jack Whitten
Taf I
1978
acrylic on canvas
40 1/4 x 68 1/4 inches (102.2 x 173.4 cm)

Rudolf Stingel
Untitled
2004
oil and enamel on canvas
82 7/8 x 67 1/8 inches (210.5 x 170.5 cm)

Frank Stella
Creede I
1961
Copper oil paint on canvas
82 1/2 x 82 1/2 inches (209.6 x 209.6 cm)

Frank Stella
Creede II
1961
copper oil paint on canvas
82 3/4 x 82 3/4 inches (210.2 x 210.2 cm)

Richard Serra
Plate Roll Prop
1969
lead
48 x 48 x 59 1/16 inches (121.9 x 121.9 x 150 cm)

Robert Ryman
Stamp
2002
oil on canvas
14 x 14 inches (35.6 x 35.6 cm)

Robert Ryman
Link
2002
oil on linen with four steel fasteners and four six-sided bolts
76 x 72 inches (193 x 182.9 cm)

Cady Noland
Bloody Mess
1988
carpet, rubber mats, wire basket, headlamp, shock absorber, handcuffs, beer cans, headlight bulbs, chains and police equipment
dimensions variable

Bruce Nauman
Henry Moore Bound to Fail (Back View)
1967-70
cast iron
25 1/2 x 24 x 2 1/2 inches (64.8 x 61 x 6.4 cm)

Robert Morris
Untitled
1967/1995
felt and metal
76 1/2 x 119 7/8 x 3/4 inches (194.5 x 304.5 x 2 cm)

Agnes Martin
Untitled #9
1988
acrylic and graphite on canvas
72 x 72 inches (182.9 x 182.9 cm)

Brice Marden
Blue Horizontal
1986-87
oil on linen
84 x 120 inches (213.4 x 304.8 cm)

Glenn Ligon
Untitled (Stranger in the Village #17)
2000
acrylic, oilstick, coal dust and resin on canvas
78 1/4 x 132 1/4 inches (198.8 x 335.9 cm)

Yayoi Kusama
INFINITY-NETS (QRTWE)
2007
acrylic on canvas
76 1/2 x 102 inches (194.3 x 258.8 cm)

Jeff Koons
Two Ball Total Equilibrium Tank (Spalding Dr. J Silver Series)
1985
glass, steel, sodium chloride reagent, distilled water, two basketballs
62 3/4 x 36 3/4 x 13 1/4 inches (159.4 x 93.3 x 33.7 cm)

On Kawara
May 21, 1985
1985
liquitex on canvas
26 x 36 inches (66 x 91.4 cm)

Donald Judd
Untitled (Bernstein 90-01)
1990
black anodized aluminum with clear Plexiglas
10 units, each 9 x 40 x 31 inches (22.9 x 101.6 x 78.7 cm)

Rashid Johnson
Falling Man
2017
branded red oak flooring, mirror, black soap, wax, spray enamel, Shea butter, ceramic, plant
96 1/2 x 72 1/2 x 12 1/4 inches (245.1 x 184.2 x 31.1 cm)

Eva Hesse
Nine Circles
1968
watercolor and gouache over metallic gouache on ivory paper
22 1/4 x 15 inches (56.5 x 38.1 cm)

Wade Guyton
Untitled
2006
Epson Ultrachrome inkjet on linen
90 x 53 inches (228.6 x 134.6 cm)

Mark Grotjahn
Dark Blue III
2006
oil on linen
60 x 50 inches (152.4 x 127 cm)

Felix Gonzalez-Torres
"Untitled" (Last Light)
1993
light bulbs, plastic light sockets, extension cord, dimmer switch
overall dimensions vary with installation

Robert Gober
Prison Window
1992
plywood, forged iron, plaster, latex paint, lights
window: 48 x 53 x 36 inches (121.9 x 134.6 x 91.4 cm) with 24 x 24 inch (61 x 61 cm) opening

David Hammons
Untitled
1989
glass and silicone glue
38 x 38 1/2 x 13 inches (97 x 98 x 33 cm)

Dan Flavin
the diagonal of May 25th, 1963
1963
soft white fluorescent light
96 inches (243.8 cm)

Urs Fischer
Colorful Personal Ecstasies
2014
paraffin wax, microcrystalline wax, encaustic pigment, aluminum, aluminum leaf, wicks
2 7/8 x 95 3/4 x 4 7/8 inches (7.3 x 243.2 x 12.4 cm)

Carol Bove
Third White Sweater Painting
2016
acrylic on canvas
48 x 60 inches (121.9 x 152.4 cm)

Carl Andre
64 Zinc Square
1968
zinc
64-unit square (8 x 8)
each: 3/8 x 9 7/8 x 9 7/8 inches (1 x 25 x 25 cm)
overall: 3/8 x 78 3/4 x 78 3/4 inches (1 x 200 x 200 cm)

Event Photos

Event Photos Thumbnails
Back To Top