Showing posts with label R.H. Quaytman. Show all posts
Showing posts with label R.H. Quaytman. Show all posts
Friday, 12 June 2020
Tuesday, 12 July 2016
Visibility
Arrived at Düsseldorf yesterday. Haven't seen to any art yet. So still something from London: from the group exhibition Visibility currently at Campoli Presti ...
Josiah McElheny's It Exists Only In The Memory Of Those Who Stood Inside (After Blinky Palermo In London 1971):
Liz Deschenes's Untitled (fov #3):
R.H. Quaytman's PR2 Morning Monochrome:
Aura Rosenberg's Window (Berlin Childhood):
McElheny's Crystalline Prism Painting I:
Jon Kessler's Swan #20:
Dan Graham's Untitled:
Josiah McElheny's It Exists Only In The Memory Of Those Who Stood Inside (After Blinky Palermo In London 1971):
Liz Deschenes's Untitled (fov #3):
R.H. Quaytman's PR2 Morning Monochrome:
Aura Rosenberg's Window (Berlin Childhood):
McElheny's Crystalline Prism Painting I:
Jon Kessler's Swan #20:
Dan Graham's Untitled:
Saturday, 16 July 2011
Quaytman's book spine
Just arrived at Duesseldorf today. But let me just finish off my Basel chapter.
Although my days in Basel have mostly been filled with sights of architecture, I did manage to see some impressive art there. Francis Alÿs' Fabiola at Schaulager's offsite location Haus zum Kirschgarten, Henrik Olesen's solo at Museum für Gegenwartskunst and R.H. Quaytman's Spine, Chapter 20 at Kunsthalle Basel were all very powerful shows. I like Quaytman's show the most.
Quaytman's exhibition is a reinterpreted retrospective of her paintings since 2001. With her paintings hung in long lines, viewers read the coherently displayed paintings like words on a page of a book. I love the way she manipulated and reinvented images in an abstract way. The modified architectural space intensified the effect of the visual display. It's a pity that I did not have enough time to meditate on the depth of her thoughts.
Quaytman at Kunsthalle Basel, 2011:
Although my days in Basel have mostly been filled with sights of architecture, I did manage to see some impressive art there. Francis Alÿs' Fabiola at Schaulager's offsite location Haus zum Kirschgarten, Henrik Olesen's solo at Museum für Gegenwartskunst and R.H. Quaytman's Spine, Chapter 20 at Kunsthalle Basel were all very powerful shows. I like Quaytman's show the most.
Quaytman's exhibition is a reinterpreted retrospective of her paintings since 2001. With her paintings hung in long lines, viewers read the coherently displayed paintings like words on a page of a book. I love the way she manipulated and reinvented images in an abstract way. The modified architectural space intensified the effect of the visual display. It's a pity that I did not have enough time to meditate on the depth of her thoughts.
Quaytman at Kunsthalle Basel, 2011:
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