no title (violet, watercolor), 2016
Watercolor and graphite on paper
28 5/8 x 42 5/8 x 1 3/4 inches framed
When painted colors and ground (paper/wall) are the same. White on white. Pencil defines and yet...
no title (Standard), 1969
Sumi ink on paper
24 1/2 x 32 1/2 x 1 3/4 inches framed
no title (graphite and acrylic lacquer, four rectangles), 1966
Graphite and acrylic lacquer on canvas
Four parts; 132 x 84 inches overall
no title (graphite and acrylic lacquer, four rectangles), 1966
Graphite and acrylic lacquer on canvas
Four parts; 132 x 84 inches overall
no title (cadmium yellow light, sixteen part separated rectangles), 1973
Cadmium yellow light acrylic on panel
16 parts; 96 x 96 inches overall
no title (cobalt blue, nine part separated rectangles), 1970
Oil on canvas
Nine parts; 90 x 90 inches overall
no title (Phthalo blue and pearlescent acrylic lacquer on canvas), 1966
Phthalo blue and pearlescent acrylic lacquer on canvas
Four parts; 96 x 165 inches overall
Upon closer inspection, it was difficult not to notice facture, marks of the making process either incidental to the creation or factors of time and decay. I also wonder if the cracking paint reflects brush stroke/direction, in certain instances spiraling much the like the more recent works which spiral outward/inward depending on you look. Said later works were noticeably independent of the walls in terms of completing the composition. Each is two-color, painted on a canvas support with less fussy brush strokes.
no title (cadmium light yellow, separated rectangles, three part horizontal), 1967
Cadmium yellow light water-based acrylic on panel
Three parts; 45 x 45 inches overall
and
no title (cadmium orange, three rectangles), 1967
Cadmium orange water-based acrylic
Three parts; 45 x 45 inches overall
As with many art-viewing spaces, especially ones exhibiting such spare paintings, it's difficult to ignore certain environmental factors, floor patches (shape) and light and shadow rhythms created by the skylights. Often difficult for me to ignore in this particular space, architecture and object often compete here. To be fair, I've also found discrete areas in these galleries that are either heightened or more interesting than the works shown. In this instance, it's a decent compromise, some of each.
no title (pale gold bronze powder, four rectangles), 1967
Pale gold bronze powder in acrylic lacquer on panel
Four parts; 112 1/2 x 69 1/2 inches overall
no title (cobalt blue and dilute carmine, eight square progression around the edges), 2019
Cobalt blue stand oil and dilute carmine ink on panel
48 x 48 inches
no title (cobalt violet and cadmium yellow, sixteen square progression on the edges), 2019
Cobalt violet oil and cadmium yellow medium oil
72 x 72 inches
and
no title (cadmium red medium and ivory black, sixteen square progression around the edges), 2019
Cadmium red medium stand oil and ivory black gouache on canvas
72 x 72 inches
no title (cobalt violet and cadmium yellow, sixteen square progression on the edges), 2019
Cobalt violet oil and cadmium yellow medium oil
72 x 72 inches
no title (cobalt violet and cadmium yellow, sixteen square progression on the edges), 2019
Cobalt violet oil and cadmium yellow medium oil
60 x 60 inches
and
no title (cadmium yellow and dilute carmine, eight square progression around the edges), 2019
Cadmium yellow stand oil and dilute carmine ink on canvas
48 x 48 inches
no title (ivory black on cadmium yellow, nine square progression around the edges), 2019
Ivory black gouache on cadmium yellow oil
48 x 48 inches
Just over a year ago, I learned of Paul Mogensen for the first time; it was at Frieze LA 2020. See here. His work was most memorable. So, I was very excited to see this recent show at Blum & Poe. Some times some things cross my path that seem most appropriate to my interests, most familiar somehow.
The early works are more contingent on the architecture; the walls provide the negative space of the painted sections. Color, shape, rhythm, sequence, and orientation seem to determine the rest. Thus, color and number are synchronized into growth/decay patterns depending on how ones looks. Movement. Rhythm and therefore... Painted edges assert their status as objects rather than floating planes.
Overall, size and scale of these works are slightly less than and/or slightly more than human. The earlier works were much larger. Overall compositional shape in relation to individual pieces is considered. Whole to parts relations...
I thought briefly of certain John McCracken works, especially sprayed works on paper, (see below) as well as David Novros (see here) and even Robert Irwin's most recent show at Kayne Griffin (see here)
Here’s some math...53 years between the painting sets in this show and nothing in between. Certainly, therein lies the crux of this particular show.
John McCracken @ The Dan Flavin Institute
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