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Marianne Boesky Gallery is pleased to present Ted Stamm : Paintings\, a survey of works from 1973 to 1981 by the late New York- based painter. This is the second exhibition of the artist’s work at the ga llery. 
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Prior to Stamm’s unexpected death in 1984 at the age of 40\, the artist created a substantial\, mature body of work that was at once responsive to the past\, reflective of his time\, and tell ing of the future. Stamm’s practice was dedicated to complicating a Minimal ist vocabulary with elongations suggestive of speed and the appearances of movement.
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In 1973\, Stamm began making conceptual ly driven work based on chance systems - rolling dice or spinning a roulett e wheel. The results would determine the execution of a specific work\, inc luding each painting’s color\, forms and numbers of paint layers. Friends w ho assisted by rolling the die were memorialized in Stamm’s titles\, such a s Kiffman’s Roll and Olivia’s Roll. Soon after in 1974\, Stam m began making shaped stretchers for his paintings\, finding inspiration in his immediate surroundings. The first of a handful of formats he developed reiterated a particular shape he had seen on Wooster Street near his home. Naming these particular paintings Woosters\, Stamm continued to wor k with the shape throughout his career.
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Increasin gly fascinated by the concept of speed\, the design of trains and airplanes as these technologies began to proliferate and improve\, opening the world up to itself\, Stamm began in the late seventies to develop the Zephyr< /i> and C-Dodger paintings. Aptly titled\, the Zephyrs were n amed after the record-breaking train that traveled between Denver and Chica go in 1934. The “C” in C-Dodger is an abbreviation for the Concorde\ , referring to the supersonic airliner Stamm traveled to Kennedy airport to see. This body of work is represented in the exhibition by Zephyr ZYR-3 1
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Also included in the exhibitio n are examples of Stamm’s late works from the early 1980s\, supporting the artist's statement describing the work as representing “no beginning and no end.” While Stamm developed painting strategies based on personal experien ces\, certain elements and series can be seen repeating themselves. Rather than approach these reductive works as carbon copies\, though\, Stamm is se en recycling and then adding important nuances exemplified in works such as ZCT-001.
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Stamm’s work is included in nume rous public collections: Museum of Modern Art\, (MoMA) New York\; The Solom on R. Guggenheim Museum\, New York\; Brooklyn Museum\, Brooklyn\; Carnegie Museum of Art\, Pittsburgh\, PA\; Museum of Contemporary Art\, (MoCA) Los A ngeles\; and the Art Gallery of Western Australia\, Perth\, Australia.
DTEND:20130427 DTSTAMP:20141221T143953 DTSTART:20130328 GEO:40.7486569;-74.0043445 LOCATION:Marianne Boesky Gallery 24th St\,509 W.24th St. \nNew York\, NY 10 011 SEQUENCE:0 SUMMARY:Paintings\, Ted Stamm UID:266076 END:VEVENT BEGIN:VEVENT DTEND:20130328T200000 DTSTAMP:20141221T143953 DTSTART:20130328T180000 GEO:40.7486569;-74.0043445 LOCATION:Marianne Boesky Gallery 24th St\,509 W.24th St. \nNew York\, NY 10 011 SEQUENCE:0 SUMMARY:Paintings\, Ted Stamm UID:266077 END:VEVENT END:VCALENDAR