yields a blank space posits form the burden of a room

Result #1

, which bears the hallmarks of the space it evokes. A window-pane lamp, too, is a window: For Minton, glass is not only a simple physical element but also a form of agency, a bridge that can link to and span time. Minton includes one such element in his nearly ninety-two-foot-long work, Time II, 1991, which consists of eight panes of Plexiglas, each tipped over to reveal a horizontal lattice of glass or transparent plastic, arranged in a grid. We see the panes from behind and from above, looking up, down, and around them. Once we understand the relation between the two planes, we can examine the illusion of depth and clarity created by the mirrors.Minton lets the viewers respond to the complexity of the works of his/her own creation by turning to his/her own experiences. The glass panes in Time II are made of wood, which gave the work its cold, industrial-looking look. The wood panes also set the conditions for the framing of Time II, giving the work a sense of a natural process, an organic process. Time II is composed of materials that are obviously on Mells way to becoming—a ceramic tile, a chamfered steel table, a quartz crystal—as Minton describes his work: His objects are developed in a life of their own existence, and he likes to call them objects of life. By taking to heart Mells advice and using these materials as parts of his works, Minton contributes to the puzzle of Melsons to-be-sculpted objects.

Result #2

yields a blank space posits form the burden of a room, or of its own configuration. All that one sees in the painting is the power that the space has, the tension between its wall-bound forms, the disparity between the positive and negative tones of the surfaces, the way a painting breaks down in the three dimensions of the interstitial space. No two elements can ever occupy the same space, no two works can ever be equated, and the picture of a room is not only different but also has a different spatial existence. In this way, the act of painting is analogous to the act of recording an event. It is as if it were an investigation into the space that exists, or as if the paintings were recordings of the actual space, the forces that produce and control it. The artists camera is an autonomous device, a tool to trace the space.The act of recording itself was the focus of this show. Apart from being an act of recording, a picture is also an object with a history, a set of rules that can be applied to its objects and positions in space. (This is why, in a room with a single canvas, one can step into any position.) The artist is either the recorder or the subject of the picture, and although his or her actions are not necessarily recorded in the same way, they are. For instance, in the painting The Red Frame, 1992, the tape of one man describing the interior of a room is played on the floor. This is a photograph of a closed door, of a body that is inside, whose presence is both visible and hidden by the wall. Similarly, in the painting No. 13, 1991, one of the framed rectangles from No. 13 is shown against a background of white paper. One color of red-black, the right side has two black lines, the left side has three, and the entire painting is a series of light, circular lines.

Result #3

yields a blank space posits form the burden of a room.The series of ensembles—often multiple panels that give off a mixture of flatness and scumbling—used the same matte-black finishes that Luttinger uses on the canvases. The installations intent was to test the reception of his working process, which he adopted after he spent a year training to be a painter. His playing cards and jokers were his primary subjects and the charts were made in the same simple, elegant way. They also reflected a taste for metaphor, as much as a handbook on compendia and notation. The ensembles are on display in a quiet room, at low heights, with no light. The chalk lines on the wall work differently, forming out of gray-toned colors and creating a kind of intricate grid. The boxes are arranged on a single sheet of paper, not on a grid. In each case, the ensembles are large enough to sit on, but not big enough to conceal. Luttinger systematically sketch and copy his designs, collaging them in cardboard boxes, shelving them in plain wooden frames, and coating them with clear lacquer. The main focus is color, with light and dark creating a tactile contrast. The surfaces are also light: They are painted a deep, dark blue, and they appear glossy, even matte. (The boxes are painted bright, colored, and deep.) In one of the largest, the blocks are yellowed, while in another, black, he used a dark gray. Each color is distinct. The Ensembles series, 1987–88, consist of 38 ensembles made from different materials. The white boxes hold larger ensembles, but the boxes are smaller and there is no light in them. The most beautiful of these are the Ensembles on La Mascara, 1987, in which small pieces of each color are joined together in single groups. The images are small, cut into lines, and then arranged in series.

Result #4

-sized artwork. As with all the pieces in the show, what makes one work so enticing is what separates it from the pack.