• Off-site Project | Aspen

    Part One

    8 June – 4 July 2021

     

    228 South Mill Street, Aspen, CO 81611

     

    White Cube is pleased to present ‘Correspondence’, an off-site project conceived in three parts, each of which proposes pairings of artists with shared formal or conceptual concerns. 

     

    To enquire about any of the works in this presentation or to organise a viewing

  • Imi Knoebel and Dóra Maurer each employ a set of strict formal vocabularies as the starting point for their work and use colour theory and other considered frameworks to challenge our perception of pictorial space.

     

    Knoebel’s five part work, Kadmiumrot C C1-C5 (1975/2018), was first conceived in 1975, a pivotal year for the artist, in which he sketched ideas for his ‘Konstellation’ series and began to study colour, formulated through conversations with his friend and fellow artist Blinky Palermo.

  • Engaging with architectural space and embracing colour in a freeform manner, Figura Psi (2019) uses thickly brushed acrylic strokes on a shaped aluminium panel. Reflecting his experimentation with brushstrokes the work was inspired, in part, by his granddaughter’s colouring books.

  • Maurer’s work explores how geometric forms are affected by colour and colour perception. In her acrylic paintings on canvas and wood, she paints what appears to be overlaid or intersecting shapes in strong hues, creating a three-dimensional presence and active sense of movement. Elegant and seemingly lightweight, the paintings in fact exist on a single plane, using colour alone to create the illusion of layering or the semblance of transparency, as if we are experiencing one colour through the lens of another.

  • Both engaging with and departing from the constructs of Modernism, Josiah McElheny and Al Held’s visual worlds are individual, conceptual and questioning in their form.

  • Visualising alternative histories of Modernism has been McElheny’s primary focus in recent years, in works that combine his master glass-blowing skills with a rigorous conceptual purpose. For the artist, aesthetics are always politically inflected and in his series of ‘Crystal Landscape Paintings’ he challenges the modernist dictate of painting as pure surface while complicating the notion of painting as a ‘window on to the world’. At once painting and sculpture, these three-dimensional wall reliefs feature illuminated interior chambers in which repeated, crystalline, abstract shapes reflect, refract, multiply and recede, suggesting, like the works of Held, an endless illusionistic landscape.

  • Al Held
    Bionuclear I, 1999
    Acrylic on canvas
    121.9 x 152.4 cm | 48 x 60 in.
    USD 175,000 plus applicable taxes
  • One of the most important painters of the post-war era, Held’s sustained exploration of abstraction was grounded in a belief that it could reach beyond our primary senses. His ‘Luminous Construct’ paintings, produced from the mid-1980s until his death, focused on creating increasing spatial complexity, blending distorted, patterned forms, quasi-architectural structures and ribbons and lines to lead the eye around, across and into the picture plane. Challenging art historical orthodoxies and Modernism’s adherence to pictorial flatness, Held was a pioneer of hard-edged abstraction while deeply influenced by the formal properties of Renaissance art.

  • Embracing forces beyond the immediate visual field is central in the work of both the late Takis and Cerith Wyn Evans.

  • A leading figure in the kinetic art movement of the 1960s, Takis made sculptures, paintings, performances and sound works that incorporated invisible forces as a fourth dimension, especially magnetics, which became his lifelong subject of study. Among his many works involving electromechanical devices, often salvaged from army surplus stores, are the ‘Signals’ series, antenna-like sculptures topped with metal shapes or flashing lights that sway in response to the slightest vibrations.

  • Evans’ neon sculptures transpose or transform energy into sculptural form, creating what the artist has described as a ‘zone for mediation and a place for reverie’. Excerpts of texts, film subtitles, flight paths or the patterns of steps in Japanese Noh theatre can all become subjects for pulsating neon works. Suggesting the folds and flow of energy, via material and immaterial conduits, circuitry or choreology, his sculptures use techniques of formal elision and superimposition to challenge our notion of reality and cognition.

  • Cerith Wyn Evans
    Subtitle, 2010
    Neon
    16 x 234 x 3 cm | 6 5/16 x 92 1/8 x 1 3/16 in.
    Edition of 3
    GBP 50,000 plus applicable taxes
  • To enquire about any of the works in the presentation

    or to organise a viewing

  • Off-site Project | Aspen

     

    PART TWO
    10 – 29 July 2021

    Rachel Kneebone | Magnus Plessen
    Etel Adnan | Jessica Rankin
    Tracey Emin | Kaari Upson

     

    PART THREE
    3 August – 5 September 2021

    Theaster Gates | Haim Steinbach
    Anselm Kiefer | Ibrahim Mahama
    Antony Gormley | Isamu Noguchi

     

    Off-site Project | Aspen PART TWO 10 – 29 July 2021 Rachel Kneebone | Magnus Plessen Etel Adnan | Jessica...
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