Adam Pendleton in LeWitt, Nevelson, Pendleton, Pace Gallery, Geneva, Switzerland

Added on by Shane Campbell.

LeWitt, Nevelson, Pendleton

March 21 - May 4, 2018

LeWittNevelson, Pendleton establishes parallels between intergenerational artists revealing three different artistic approaches that arrive at similar conclusions on colour, shape, materials and meaning.Prompting a trialogue between artists, the presentation will explore themes of language, abstraction, geometry and appropriation.

Geneva, Switzerland

Tony Lewis: Anthology 2014-2016, Hirshhorn Museum and Sculpture Garden, Washington D.C.

Added on by Shane Campbell.

Tony Lewis
Anthology 2014-2016

March 6 - May 28, 2018

To create the body of work on view at the Hirshhorn, Lewis deconstructed Calvin and Hobbes comic strips, reordered them and ultimately shaped them into poems through a process of erasing, editing and rearranging dialogue. Each poem is assembled as a collage of individual drawings that explores the collaborative nature of creativity and authorship, leaving the meaning open to a range of interpretations.

Hirshhorn Museum and Sculpture Garden
Washington D.C.

Erin Shirreff in Painting/Object, The Flag Art Foundation, New York, NY

Added on by Shane Campbell.

Sarah Crowner, N. Dash, Sam Moyer, Julia Rommel, Erin Shirreff

February 23 - May 19, 2018

The title of the exhibition refers to a phrase used by Ellsworth Kelly (1923-2015) to describe Window, Museum of Modern Art, 1949, the first work in which he combined multiple relief panels to create one image: “It is the replica of a window that does not exist as either window or painting but as painting/object…the flattening of the forms in paintings condenses vision and presents a three-dimensional world reduced to two dimensions.”[1] Kelly’s newfound direction, which would ultimately become the cornerstone of his oeuvre, disrupted painting’s traditional figure-ground relationship and resulted in an increasingly simplified visual language. Crowner, Dash, Moyer, Rommel, and Shirreff employ similar formal tactics as Kelly, yet each embraces the mark of the artist’s hand to highlight distinctive approaches to construction, materiality, and process.

The Flag Art Foundation
New York, NY