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ollowing the trajectory of highly ordered non-representation al art since the 1950s\, Edge\, Order\, Rupture at Galerie Lelong presents work across three generations of artists who have reinvented or su bverted the modernist aesthetic. The selected works range from the highly s tructured and disciplined to the more poetic. The relationships between the se fifteen artists from the U.S.\, Latin America\, and Europe\, show inter- and cross- generational influences in their approach to pushing the edge\, giving shapes order\, utilizing color\, and rupturing the two-dimensional plane. Edge\, Order\, Rupture opens on Thursday\, April 4th with a public reception from 6-8pm.

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Considered pioneers of the re-engagem ent of non-objective art\, Josef Albers (1888-1976)\, Lygia Clark (1920-198 8)\, and Hélio Oiticica (1937-1980) are represented by signature works. Alb ers’s Interlinear N 32 bl (1962) exemplifies his use of mechanical means to create a complex spatial illusion by engraving an impersonal\, fu nctional line within a field of hand-rolled jet black ink. Oiticica’s gouac he Metaesquema 286 (1958) shows the effective use of simple\, mono chromatic shapes to create an active\, open composition where the forms app ear to pulsate across the plane\, expanding the field in a rhythmic pattern that infers space beyond the paper’s borders. Clark’s Bicho (1960 )\, made of folded aluminum\, is from her well-known series that plays with notions of angled planes\, active space\, and the possibility of variable compositions and multiple vantage points contained within a single work.

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Jo Baer (b.1929)\, Carmen Herrera (b. 1915)\, Robert Mangold (b.1937) \, and Sean Scully (b. 1945) further explore the potency of line and color. In Untitled (1972)\, Baer expands the stark white center of her c omposition\, pushing thin bands of her distinctive black and blue hues to t he very edges\, to create a shift in the use of central space\, characteris tic of her minimal works of the 1970s. Herrera creates striking spatial ten sion by the precise placement of a thick graphic L-shaped black line that d issects a bold field of saturated green in Untitled (1976). More s ubtle in color and treatment of line\, Mangold’s Four Triangles within a Square (Cream) (1976) conveys a sense of architectural drafting. Scu lly’s paintings also suggest built space\, but through painterly brushstrok es that make up horizontal and vertical bands of subdued colors.

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Ca therine Lee (b. 1950)\, Sol LeWitt (1928-2007)\, Charlotte Posenenske (1930 -1985)\, Liam Gillick (b. 1964)\, and Peter Halley’s (b. 1953) work involve s serial\, specific forms. Lee uses a grid to give her pastel drawings orde r\, leaving her hand visible in each work in contrast to the purity LeWitt sought in his sculptures. LeWitt is represented by one of his open cube str uctures\, a form he revisited throughout his career. Like LeWitt\, Posenens ke was interested in serialization and minimalism\, as exemplified by her < em>Series B Relief (blue reconstruction) (1967/2008-2011) consisting o f three aluminum elements sprayed with industrial RAL paint. Gillick also u ses RAL paint to uniformly coat sculptures\, but deliberately makes relatio nships to functional structures as in Mean Completion (2008-2009). Halley uses the building construction paint additive Roll-a-Tex to create rough textures and a taut interplay of geometric forms\, which he repeats i n his work but with different compositions and colors.

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Kate Shepher d (b. 1961)\, Sarah Crowner (b. 1974) and Tony Lewis (b. 1986) use a variet y of visual references as a method of subversion. Shepherd’s interest in bo th traditional color theory models and value-based painting is apparent in her “triangle suit” series made with precisely cut screen prints. Tonal var iations interlock to form an elongated triangular shape\, stretched from th e original Albers model\, making them a more personal expression by the art ist. Crowner\, who is strongly influenced by Lygia Clark’s vibrant forms\, sews together treated linen and canvas to create physically alluring surfac es. Lewis\, the youngest artist in the exhibition\, also divides his compos itions but with a strong line\, using pencil and graphite powder to create sooty surfaces reminiscent of the grit of the city\, while maintaining a co nnection to the modernist grid.

DTEND:20130504 DTSTAMP:20140917T074611 DTSTART:20130404 GEO:40.7499345;-74.003629 LOCATION:Galerie Lelong\,528 W. 26th St. \nNew York\, NY 10001 SEQUENCE:0 SUMMARY:Edge Order Rupture\, Josef Albers\, Jo Baer\, Lygia Clark\, Sarah C rowner\, Liam Gillick\, Peter Halley\, Carmen Herrera\, Catherine Lee\, Ton y Lewis\, Sol LeWitt\, Robert Mangold\, Hélio Oiticica\, Charlotte Posenens ke\, Sean Scully\, kate shepherd UID:267904 END:VEVENT BEGIN:VEVENT DTEND:20130404T200000 DTSTAMP:20140917T074611 DTSTART:20130404T180000 GEO:40.7499345;-74.003629 LOCATION:Galerie Lelong\,528 W. 26th St. \nNew York\, NY 10001 SEQUENCE:0 SUMMARY:Edge Order Rupture\, Josef Albers\, Jo Baer\, Lygia Clark\, Sarah C rowner\, Liam Gillick\, Peter Halley\, Carmen Herrera\, Catherine Lee\, Ton y Lewis\, Sol LeWitt\, Robert Mangold\, Hélio Oiticica\, Charlotte Posenens ke\, Sean Scully\, kate shepherd UID:267905 END:VEVENT END:VCALENDAR