|Theodoros Stamos'Infinity Field-Lefkada Series'. c.1973.|
This is some of an article published in the New York Times regarding the exhibition 'Absorbed by 'at Heckscher Museum of Art, USA :
“Absorbed by Color: Art in the 20th Century” at the Heckscher Museum of Art in Huntington, N.Y., is thus a wildly ambitious show: a tour of color in 20th-century painting mounted in two galleries of modest size. Sometimes, however, the abridged version of a subject can be reassuringly manageable — particularly compared to the much larger 2008 exhibition “Color Chart: Reinventing Color, 1950 to Today” at the Museum of Modern Art in New York, which examined how postwar industrial color and art have become intertwined.
What also makes “Absorbed by Color” interesting is its limitations: it is not a showcase for the greatest hits of color, lacking an example from Picasso’s Blue Period, for instance, or a Mark Rothko Color Field painting; the show is drawn exclusively from the museum’s collection, which leans toward American 20th-century art, and many of the works here are by lesser-known or overlooked artists.
That is not to say that major practitioners are completely absent. Josef Albers, one of the most important color theorists of the 20th century, is represented by “Coastal” (1948-54), a rectangular oil-on-hardboard composition, and “Red-Orange Wall” (1959), an ochre-hued silk-screen. Albers was born in Germany and taught at the Bauhaus in Weimar and later at the experimental Black Mountain College in North Carolina. Retooling the progressive Bauhaus curriculum for American students, he taught a famed course in color theory at Yale, and wrote a landmark book, “Interaction of Color” (1963), which treated color in terms of relationships, or “interactions.” '
see more of the article here.
|Richard Richenurg, 'Flicker'. 1949.Oil on canvas. |
Gift of the Artist