| Dan
Flavin Donald Judd Robert Ryman Remy Zaugg May 7 - June 18, 1994 Brooke Alexander Editions is pleased to announce an exhibition of prints by Dan Flavin, Donald Judd, Robert Ryman, and Remy Zaugg. Flavin, Judd, and Ryman have come to characterize a movement driven by reductive abstraction, culminating in minimalism and certain aspects of conceptual art, such as Zaugg's structured approach to painting. In this exhibition Flavin's rarified and extreme sense of color is evident in To Don Judd, Colorist, 1986. Judd is remembered for his perfect and internalized logic in monochromatic sequences like Untitled, 1990. Backgrounded by Flavin and Judd, the veracity of Rymans' vision is encapsulated in Seven Aquatints, 1972, a series of geometric variations in the artist's celebrated style, whereas in Art-Rite, 1975, Ryman carries the minimalist argument toward conceptual art. Zaugg accepts the minimalist dogma but only insofar as he can pose it as a lense through which to evaluate and reflect on the history of reductive abstraction. One need only see Homochromie De "Composition Suprematiste", 1920 de Kazimir Malevitch, 1973-87, from the series HOMOCHROMIE I next to Une Feuille de Papier, 1970-87, (both from Zaugg's extensive project REFLECTIONS ON AND ONTO A SHEETS OF PAPER) to understand how he is able to honor and evaluate abstraction in the same gesture. Zaugg's work constructs a plateau with a historical vista of reductive abstraction, that is ultimately filtered through minimalism. |
Return to the exhibition page | ||