New print by Carl Andre in inventory (from 1973). This print relates to the installation of Andre's poems at the Chinati Foundation in Marfa TX.
This Judd woodcut is the artist's last "single" print before he died in 1994. The print was part of a portfolio known as Artist's Against Torture. Schellmann #297 is 60 x 80 cm (23-1/2" x 31-1/2"). The edition is 150, but still rarely seen in the secondary market.
A suite of ten lithographs by John Chamberlain has been added to the inventory of inde/jacobs.
The suite, entitled Famous Last Words, was a collaboration with the poet R. Creeley. The images, all on sheets sized 30" x 22" are dynamic and represent the artist's primary focus on 3-dimensionnal sculpture. The energy of Chamberlain's sculpture is obvious. The prints were published/printed by Ten Coconut, Shelter Island/Novak Graphics, Toronto
Contact the gallery for more information.
Glen Hanson and Matt Magee present their recent work at inde/jacobs. The opening will be held on January 28th - 5-8 pm.
Glen Hanson uses a traditional method of the Lakota tribe to sew glass beads upon tanned deer-hide. He brings these objects into today's world and to Marfa by creating patterns of simple shapes. They become modern.
Matt Magee presents his paintings and found objects in a similar way. Seriality, repetition and stitching result in his bold and playful artwork. Magee has also created a site-specific wall-painting at the gallery called Marfa Grapheme.
This is a colorful exhibit with accessible artwork for all.
Abres (Rouge) (1992) / 29" x 22" / Edition of 125 - Joan Mitchell was an exceptional painter and printmaker of the second generation of abstract expressionists. Although she began her career in New York, she moved to France. This print was completed shortly before Mitchell's death in 1992. It beautifully reflects the use of white space, as also seen in many of her later paintings.
Jarrod Beck: During my year in residence at Dieu Donné I was also traveling to my land in far west Texas where I’ve been creating an installation of cast plaster in the ground called Disruption Regime. Each year heavy rains bring sediment into this desert wash and the plaster I’ve placed deflects the silt, creating a drawing in the ground. I would come back to New York and get to work in the wet studio, eventually developing a process of throwing thinned out pulp at a mold and then using my arm to pull and rub the pulp across the mesh of the mold. I have been looking for ways to show the desert ground-drawings without photographs, and I see these works in paper as a medium to transmit the process, rather than an image, and to shift the scale from a fleeting experience of walking five acres of land, seeing thousands of acres, and tens thousands of years in the compacted sediment in the mesas and mountains that surround the property to an experience of several square feet of color and translucency that’s here now, indelibly in front of you.
Each layer of these works marks a gesture, an index of the frisson between my arm and the architectural surface of the mold. Couching these layers together gives them strength and they depend on one another for permanence. I’ve used pigment in the pulp to differentiate between layers of these pressed-together gestures, mixing up the figure from the ground, using tones to pull texture toward you and pushing it back with veils of fiber. I’ve continued this gestural work back at my studio using pigmented cotton pulp and theatre scrim stretched across the studio. The cold of being third, in the front room of the gallery, is indicative of this scale, allowing me use the full range of my body to throw the pulp into space. The force presses the pulp into the mesh, and the wet muck of it traps and slows lumps of pulp that roll down these surfaces attached to the walls and makeshift frames I build for them.
Jarrod Beck explores glass, metal and cast paper pushing these materials to new limits. For example, he pours molten iron or aluminum into wooden troughs. The heat of the metal burns the wood. The final artwork presents the process the results of this process of burning the original wooden mold.
Per Kesselmar paints on metal surfaces. He applies the oil paint in exceptionally thin coats that create an inner glow and/or depth. The two-dimensional surface takes of depth with his larger paintings enveloping the viewer.
Ultimately, each artist explores the surface of the artwork drawing the viewer into a close exploration of each piece.
L I G H T / M A S S
"The invisible is real." Walter de Maria
Erika Blumenfeld, Jem Goulding, and Munson Hunt present artwork that explores the phenomena of light and mass. Light becomes visible to us only after it shines upon a surface. Mass is obviously visible, yet the atoms that make up the volume are not visible to the eye.
This exhibit includes extraordinary work by three artists. Jem's photographs of the aurora borealis were taken from the Arctic Circle while Erika has explored and recorded the light of Antarctica. Munson's exploration of wood forms present mass. Yet, her presentation of a heavy material becomes light as it floats off of the wall.
Please take a look at the page "Current" to see some of the work in this exhibit.
Pard Morrison’s modestly scaled aluminum fabrications are whispered meditations on the language of hard-edged painting and architectural space. Working with a singularly deadpan palette reminiscent of Necco candy wafers, Morrison slyly subverts what, at first glance, appears to be decorative riffs on Minimalism. But the work rewards concentrated looking, revealing smartly edited commentary on painting’s flatness and its materiality.
Per Kesselmar is a Swedish artist who has been focusing on painting white. He has perfected his technique by painting on steel or aluminum panels. The beauty of his paintings can be observed when seeing the work - sharp edges almost as if sheets of white tissue paper had been placed one on top of the other. The center is far more ambiguous. Kesselmar achieves this by adding just a bit of colored pigment. The depth of the work is amazing.
Kesselmar is represented by a Swedish gallery and inde/jacobs. He recently exhibited at Volga 2016 and sold out (with the exception of one painting).
Truly exquisite and minimalist. The painting above is 48" x 40" - $12,500
Brice Marden has created some of the most exquisite etchings of the last few decades. Prices of his Cold Mountain limited editions and others reflect this. i n d e / j a c o b s now has three printer's proofs from the series of 25 etchings that Marden created to accompany Rexroth's translation of 36 poems by Tu Fu. These are real treasures.
In 1990 Richard Long visited the Big Bend area of West Texas. He took a 10-day walk along the Rio Grande and the Chisos Mountains. This walk resulted in several art projects. The most significant is the Chisos Circle that was an area that was cleared of rocks - allowing the desert floor to become visible. The other was a lithograph that reflects observations during one hour of the walk. As Long has often done, he documents his observations in a print.
The image above is a detail of the print that is now in the gallery inventory. It is a lithograph that is 74-1/2" tall and 36" wide. (PP from an edition of 60.) It is a joy to have this distinctly local piece by an artist whose work is shown at the Chinati Foundation. More information upon request.
"So Close" - Anodized aluminum / 3-3/4" x 7-7/8" x 1/2" / Edition of 25
Cecilia Vissers is preparing a book called "Beyond" on her artwork and process, including some scholarly discussion, including an essay by Allister Rider of St Andrew's University. In a final push for additional funding, Cecilia has reduced the price for "So Close" from $2,200 to $1,650. The gallery has also agreed to give her the majority share of its commission. In addition, the purchase will entitle you to a copy of Beyond (to be published in 2016).
This is an opportunity to acquire a beautiful artwork at an incredibly low price.
The gallery has added a few new works by various artists on the Misc. page. These include Richard Serra, Hiroshi Sugimoto, Idris Kahn and others. Please take a look and feel free to contact the gallery.
The gallery is pleased to host members and the Director of the Contemporary Art Society of London. This organization buys contemporary art for public museums and galleries in the U.K. Based upon past donations, I see very little minimalism, so perhaps we can entice them with some exceptional work from Marfa.
Cecilia Vissers is currently showing at inde/jacobs in Marfa. She is visiting and enjoying the exploration of various Judd spaces and the Chinati Foundation.
Vissers' artwork relates to the minimalism, but references the cuts and the mass of landscape. She especially enjoys the rough terrain of Ireland.
Opening: 10/9/15 - 6:30-8:30
An exceptional exhibit of anodized aluminum sculpture by Cecilia Vissers of the Netherlands and thread paintings and acrylic paintings by Hadi Tabatabai of San Francisco (born in Iran).
The work displays the perfect craftsmanship generally associated with many minimalist artists.
The exhibit is supported as part of the Dutch Culture USA program by the Consulate General of the Netherlands in New York and a grant from the Netherland-America Foundation.
New Judd working sketch in inventory. Design for a piece in concrete. (The paper is white - excuse the coloration of the photo.)
We are pleased to be included in the August 2015 issue of Interior Design. So, all of you folks in town for Design Marfa, come by to see the great architecture by Claesson Koivisto Rune.