Review | A painting by abstra...

Generated on 2022-10-28 08:17:02

Result #1

Since the lines are so closely intertwined, the painting becomes more like a form that hangs on the wall and is seen from afar. The three enormous slats of white paper mounted in a row on the wall, one on top of the other, make it clear that the two-dimensional form is actually a two-dimensional version of the two-dimensional one. The latter is also a two-dimensional form, but the painting is three-dimensional.Meyers-Büser has included a number of other artists in her show, including Sarah Charlesworth, Anne and Patrick Poirier, and Alan Shields. The show also features a number of abstract paintings, some by artists whose work has been shown in Europe before, and a number of drawings, among them the recent paintings by John Baldessari, Paul Thek, and Judith Scott. However, the big surprise is that the work of these three artists has been shown in New York. Meyer-Büser has made a statement about the importance of the painterly gesture in the modern world: It is a sign of creativity that someone like Baldessari can show a picture and say, Here is what I am doing. And here we are. There is something completely new about that. The question is: What is new about it? This is an exhibition of a group of artists who have been showing regularly in Europe and the United States. It is a remarkable statement about the way a group of artists can come together and produce works that are so original, so distinctive, and so different.

Result #2

A painting by abstract Dutch artist Piet Mondrian has been hanging upside down in various museums since it was first put on display 75 years ago, an art historian has found, but warned it could disintegrate if it was hung the right side up now. The 1941 picture, a complex interlacing lattice of red, yellow, black and blue adhesive tapes titled New York City I, was first put on display at New York’s MoMA in 1945 but has hung at the art collection of the German federal state of North Rhine-Westphalia in Düsseldorf since 1980. The way the picture is currently hung shows the multicoloured lines thickening at the bottom, suggesting an extremely simplified version of a skyline. However, when curator Susanne Meyer-Büser started researching the museum’s new show on the Dutch avant garde artist earlier this year, she realised the picture should be the other way around. The work shows the color lines as thick, even as they are barely visible. Meyer-Büser then asked the artist to design the scaffolding, a piece of wood that holds the multicolored tape in place. The work is a simple, almost bare-bones version of Mondrians famous green-white-white-white-white-white-white-white-white-white, 1927–28, and the artist has re-created the piece with a wooden bench and a few wooden pillars. The scaffolding is also made of wood, which is used to hold the tape and gives the work a high-relief quality, though it is visible when Meyer-Büser walks around it. The piece is a kind of abstract figure on the floor, but it is also a floor sculpture, a simple, abstract form, and it is the ultimate abstract image.Meyer-Büser has made a series of drawings that suggest the process of tracing the different colored lines, but it is not clear what this process entails. At first glance, the lines appear to be simply the black and white ends of the multicolored tape, but the line in each drawing is the one that starts at the top and ends at the bottom, which in turn is the top and bottom of the piece. The artist has also drawn a figure on the scaffolding that is almost identical to the figure in the previous work, but is made of colored tape instead of painted wood. The figures face is obscured by the colored tape and the scaffolding is visible through a hole in the stretchers, which is covered with colored tape.The work evokes the idea of the multicolored tape, but it is not so much a multicolored image as a multicolored multicolored line.

Result #3

She used the gallery to study the way the art world regards the Dutch avant-garde and the fact that the work of the latter is often considered obsolete by the art establishment in New York. The result is a hybrid show, one that is not only an art retrospective but also a tribute to a remarkable figure who continues to be actively discussed and discussed.

Result #4

A painting by abstract Dutch artist Piet Mondrian has been hanging upside down in various museums since it was first put on display 75 years ago, an art historian has found, but warned it could disintegrate if it was hung the right side up now. The 1941 picture, a complex interlacing lattice of red, yellow, black and blue adhesive tapes titled New York City I, was first put on display at New York’s MoMA in 1945 but has hung at the art collection of the German federal state of North Rhine-Westphalia in Düsseldorf since 1980. The way the picture is currently hung shows the multicoloured lines thickening at the bottom, suggesting an extremely simplified version of a skyline. However, when curator Susanne Meyer-Büser started researching the museum’s new show on the Dutch avant garde artist earlier this year, she realised the picture should be the other way around. The artist, who is based in Berlin, had never seen a museum that displayed the work so closely in such a way as to disjunctively fuse the two. She did this in part by using the gallerys two large windows to create a kind of painting-room. The windows are wide enough so that they can be used as a kind of frame for a large painting, as in Untitled (paintings), 2012–13. The other works on display here are large, mostly of the kind one might find in a shop window. They are, of course, painted, but they are also assemblages, partly because the painting is in the shape of a rectangle, and partly because the paint is often so thick. The work is presented here as a series of painted drawings, some of which are large, some of which are small, some of which are large, some of which are small, some of which are large, and some of which are small. Some are entire compositions, some are fragments of a larger work, and some are simply the elements of a larger work. The piece is a puzzle that is not a complete image, but rather a series of different paintings that form a whole.The exhibition opens with a large drawing on paper titled A Small Paint-room, 2012, in which the artist uses the windows to paint a building. The work is, of course, part of a larger work, but it is also a kind of miniature, an impression reinforced by the fact that the work is not really a painting but rather a series of small, round, brush-marked drawings. The drawings are done in white on a black background, and the background is, like the building, a painted surface. The drawing is not an image of a painting but of a small, painted image. The artist has used the windows as a lens to focus on the image, making it look like a painting.

Result #5

A painting by abstract Dutch artist Piet Mondrian has been hanging upside down in various museums since it was first put on display 75 years ago, an art historian has found, but warned it could disintegrate if it was hung the right side up now. The 1941 picture, a complex interlacing lattice of red, yellow, black and blue adhesive tapes titled New York City I, was first put on display at New York’s MoMA in 1945 but has hung at the art collection of the German federal state of North Rhine-Westphalia in Düsseldorf since 1980. The way the picture is currently hung shows the multicoloured lines thickening at the bottom, suggesting an extremely simplified version of a skyline. However, when curator Susanne Meyer-Büser started researching the museum’s new show on the Dutch avant garde artist earlier this year, she realised the picture should be the other way around. The artist, who is based in Düsseldorf, is a Dutch citizen and she has been living in New York since 1992.She was one of the few artists Meyer-Büser surveyed in the show, and she has chosen to show her work in the museum as well. Her works are often based on the idea of a combination of the abstract and the figurative, the natural and the artificial, and the experimental and the conceptual. Here, however, they are always placed in relation to the physical space and time of the artist.The central work is a wall-size print of the artists hand painted on the gallery walls. On the upper part, a white chalk line is drawn on the wall. On the lower part, a black line is drawn on the wall. The chalk line is a sort of sketch of the artists hand, the black line a sketch of the chalk line. In both cases, the drawing is a parallel to the wall, and the drawing is a drawing of the wall. The two elements of the drawing are connected by a line, the line which is a line of the chalk line and the line which is a line of the drawing. In both cases, the line is a line of the chalk line and the drawing is a drawing of the wall.The other work is a white chalk drawing on the wall, slightly off-center. The drawing is a drawing of a single, almost imperceptible line which is divided into two sections. In one section, the line bisects a white line, while in the other section, the bisecting line bisects two black lines. The two sections of the drawing are connected by a line which is the line of the chalk line bisecting the drawing. The line bisects a drawing of a white line bisecting a black line. The bisecting line bisects a drawing of a white line bisecting a black line.