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We are pleased to announce Diana Copperw hite&rsquo\;s first US solo show in collaboration with Kevin Kavanagh Galle ry\, Dublin. This follows on from her succesful solo presentation at VOLTA NY earlier this year\, and her residency at the Josef Albers Foundation in December 2012.

&ldquo\;Whose afraid of Red\, Yellow and Blue&r dquo\; asked Barnett Newman in the sixties amid the era&rsquo\;s monikers o f post-painterly abstraction and colour field painting. His answer\, and in deed the answers of his compatriots at the time\, seem to us now as stately as they are staid. They sit comfortably into the art historical narrative -the progressive imperative of Modernism. The paintings of Diana Copperwhit e deliver us back into the maelstrom of colour resurrecting the fear that s uch charged tints and hues can conjure. Copperwhite&rsquo\;s colours misbeh ave\, taunting and mocking our narrow appreciation of their emotional poten tial. \;

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We have radiant colour\, scrubbed colour\, muddied col our\, mercurial colour\, structural colour\, all carefully choreographed wi thin these large canvases. The work carries the evidence of the intense lab our of its making. These are not easily won images\, we can see from the er asure\, the under-painting and the re-painting the myriad of decisions empl oyed in their completion.

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These paintings are not abstract but abst ractions. In some\, the geometrical shaping of certain passages seem to sug gest architecture\, both internal or external\, and at times simultaneously internal and external. These are faint armatures on which to secure the ey e\, take a breath\, before launching into the immensity of colour on offer. Recently the artist has introduced neon radiant colour bars onto the surfa ce. Floating on top of the composition they startle the eye and delight the perception\, like freeform riffs in jazz. \;

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So what gives her e in these colourful paintings? There is no ironic strategy underlying thei r production\, nor\, wacky systemic analysis of colour theory. These are ho t paintings\, panting with sensuality\, overburdened with sensitivity\, and  \; demanding &ndash\;demanding that we give ourselves to them as whole heartedly as they were created.

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Patrick T Murphy\, Dublin

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< span style="font-size: 12.0pt\; font-family: 'Times New Roman'\,'serif'\; m so-fareast-font-family: Calibri\; mso-fareast-theme-font: minor-latin\; mso -ansi-language: EN-US\; mso-fareast-language: EN-US\; mso-bidi-language: AR -SA\;">(from 1989 to 1998 Murphy was Director of the Institute of Conte mporary Art\, at the University of Pennsylvania\, Philadelphia\, currently he is Director of the Royal Hibernian Academy\, Dublin).&nbs p\; \;

\n DTEND:20131019 DTSTAMP:20141220T042556 DTSTART:20130910 GEO:40.749403;-74.004838 LOCATION:532 Gallery Thomas Jaeckel\,532 W. 25th Street \nNew York\, NY 100 01 SEQUENCE:0 SUMMARY:Loose Ends\, Diana Copperwhite UID:283571 END:VEVENT BEGIN:VEVENT DTEND:20130910T203000 DTSTAMP:20141220T042556 DTSTART:20130910T180000 GEO:40.749403;-74.004838 LOCATION:532 Gallery Thomas Jaeckel\,532 W. 25th Street \nNew York\, NY 100 01 SEQUENCE:0 SUMMARY:Loose Ends\, Diana Copperwhite UID:293480 END:VEVENT END:VCALENDAR