BEGIN:VCALENDAR VERSION:2.0 PRODID:icalendar-ruby CALSCALE:GREGORIAN BEGIN:VEVENT DTSTAMP:20170522T173638Z UID:261260 DTSTART:20130227T000000 DTEND:20130406T000000 DESCRIPTION:
Inaugurating its representation of Harmony Hammond\, Alexand
er Gray Associates is pleased to present Broken Spaces: Cut\, Mark\, and Ge
sture\, a group exhibition examining the parallel conceptual and formal pra
ctices of Luis Camnitzer\, Jeremy Gilbert-Rolfe\, Harmony Hammond\, Lorrain
e O’Grady\, Hassan Sharif\, and Jack Whitten. Focused on process-oriented\,
conceptual works on paper\, the exhibition highlights each artist’s experi
mentation with boundaries of media and form.
Harmony Hammon d’s charcoal drawings and mixed media works on paper investigate post-m inimal processes and materials. In her mixed media works\, Hammond experim ents with printmaking and crafting materials. Her charcoal drawings serve a s studies for the iconic 1970s floor sculptures\, utilizing braiding and w eaving\, referencing women’s traditional arts\; her recent “Grommetypes” pu ncture and mold paper with ink and watercolor. In etchings begun in the lat e 1960s\, Luis Camnitzer plays with the language of printmaking and text-based art. In Shift (1968)\, Camnitzer explores conceptual mean ings of identity and perspective\, while breaking ground with etching and d ie-cutting techniques. Lorraine O’Grady’s Cutting Out the New Yor k Times (1977/2010) is a series of 26 poems created from newspaper clip pings. In these works\, created on successive Sundays spanning six months\, O’Grady produced collaged poems made from public text\; presented as wall- mounted installations\, the poems hover between language and image\, person al and political. Jack Whitten’s works on paper from the 1970s prese nt an experimental approach to art-making. During this period\, Whitten app lied a wide array of media—including oil\, magnetite\, and acrylic—to creat e abstractions\, highlighting the artist’s interest in surface and form\, l ine and void. In Closed Loops #2 (2012)\, Whitten pushes the boundar ies of acrylic in a compositionally complex\, sculptural work that exemplif ies Whitten’s inventive abilities. Hassan Sharif’s line drawings dem onstrate the artist’s interest in art-making processes. The artist’s preocc upation with conceptualism is evident in the repetitive gestures and system atic compositions of his drawings\, making reference to caligraphic traditi ons\, architectural form\, and urban planning. Jeremy Gilbert-Rolfe’ s drawings challenge contemporary ideas of aesthetics and purpose. In his w orks on view\, Gilbert-Rolfe manipulates the Modernist grid and applies hyp er-saturated color to question painting’s position in a post-Modern context .