Propose: Works on Paper from the 1970s

Event  |  Reviews  |  Comments
Infinite Rays of the Sun , 1975-78 Graphite On Paper 19" X 23 1/4" © Alexander Gray Associates
Propose: Works on Paper from the 1970s

510 West 26 Street
New York, NY 10001
January 15th, 2009 - February 14th, 2009
Opening: January 15th, 2009 6:00 PM - 8:00 PM

Tue-Sat 11-6


Alexander Gray Associates is pleased to present a group exhibition, Propose: Works on Paper from the 1970s. The show includes drawings and works on paper by gallery artists Luis Camnitzer and Jack Whitten, as well as works by Mary Beth Edelson, Louise Fishman, Nancy Grossman, Fred Sandback, Michael Smith, and William T. Wiley.

The works in the exhibition represent a range of approaches to drawing, including abstraction, appropriation, gesture, figuration, collage, and text. Together, these artists offer a glimpse of drawingʼs potential to make cultural, social, or political proposals, through diverse formal processes.

Luis Camnitzer is a celebrated pioneer of Latin American Conceptual art; included in the exhibition are text-based drawings that explore the representational possibilities of language. In her collages, Mary Beth Edelson incorporates images of female icons, expanding ideas of Feminist motives and legacies. Using material to express the essence of shifting forms found in the natural world, Louise Fishmanʼs abstractions delight with restrained fluidity. Nancy Grossmanʼs illustrations of her signature mask sculptures question ideas of power and sexuality, control and gender. Fred Sandbackʼs studies for installations explore the spatial possibilities of line, defining architecture through reduction and geometry.

In narrative drawings, Michael Smith pokes fun at everyday activities and objects from the artist's life, highlighting the banal and humorous qualities of his performance based work. Eclipsing ideas of gesture and embracing the notion of "processed" abstraction, Jack Whitten experiments with industrial materials including Xerox toner and acrylic slips. William T. Wileyʼs obsessive graffiti-like gestures celebrate craft and illustration, implying metaphysical and cosmological transcendence in an invented landscape.