Robert Irwin At Chinati Foundation Marfa


On Saturday, July 23, 2016, from dawn to dusk, the Chinati Foundation/La Fundación Chinati will open a new large-scale artwork by Robert Irwin. Sixteen years in the planning, this long- awaited installation further elaborates Donald Judd’s vision of Chinati as a singular place for contemporary art and is the first major addition to the collection since the opening of the Dan Flavin project in 2000 and the opening of the John Wesley gallery in 2004. Irwin’s largest work to date, it represents the culmination of his decades-long investigation into the act of perception through poetic manipulation of space and light.

While Robert Irwin is recognized as one of the outstanding artists of his generation, much of his past work was created and installed on a temporary basis. His new project for Chinati is the only permanent, freestanding structure that has been conceived and designed by Irwin as a total work of art. In 1999, Irwin was invited to create a work for the site of a long-abandoned army hospital adjacent to the museum’s main campus. Over the ensuing years, Irwin developed and refined a design that was informed by the open conditions of the derelict building, the surrounding landscape, and the sky overhead. The completed work fuses indoors and outdoors, art and architecture, the past and the present, nature and the man-made, and creates an ideal complement to Chinati’s permanent collection.

Donald Judd collected and supported Robert Irwin’s art and hoped to include it at Chinati. This ambitious project realizes that goal and will also contribute to the growing reputation of Marfa, Texas as one of America’s unique cultural places.

What Irwin has contributed to Chinati is an artwork in the form of a building, with light and shadow as its primary subjects. The original building that occupied the site was a dilapidated C-shaped concrete structure, lined on all sides with a long sequence of windows that surrounded a central courtyard. It sat on a gentle slope and when Irwin first visited, the building’s floors had been removed, raising the window sills to eye level and offering what Irwin later described as a “Dutch landscape-like view” of the surrounding West Texas land and sky. He chose to cut the newly constructed building into the existing slope to retain the same physical relationship.

As visitors enter from the street, gravel-lined walkways offer an option of directions. Antechambers to the right and the left are open to the sky—referencing the historic structure’s previous ruined state. The building is formally divided in half, with one side dark, the other light. Inside, transparent scrim walls are stretched taut from floor to ceiling in black or white respectively, bisecting each long wing and capturing the always-changing natural light, appearing opaque one moment and transparent the next.

The connecting corridor has a progression of scrim walls that sequentially cross and fill the space, with an enfilade of doors for passage. The courtyard has been transformed into a garden defined by concrete paths running along Corten steel-lined raised beds with two rows of Palo Verde trees. Niches with benches flank the central planter, where Irwin has created a tableau of large basalt columns. The surrounding fields of grasses, wildflowers, mesquite, scrubs, and cactus are left in their natural state.

In 1973, Robert Irwin discussed his artistic principles in words that aptly describe his approach to this new work for Chinati:

The sculptural response draws all of its cues (reasons for being) from its surroundings. A quiet distillation of all this—while directly experiencing the site—determines all the facets of the sculptural response: aesthetic sensibility, levels and kinds of physicality, gesture, dimensions, materials, kinds and level of finish, details… whether the response should be monumental or ephemeral, aggressive or gentle, useful or useless, sculptural, architectural, or simply the planting of a tree or maybe doing nothing at all.

Opening Weekend

The inauguration of Robert Irwin’s new work for Chinati will be held on Saturday, July 23, 2016, from sunrise to sunset. The building is located at the corner of Bonnie and South Yale Street in Marfa, Texas. Everyone is invited to attend. There will be a free community-wide barbecue dinner with Mariachi music at the Arena from 6:30 until 9:00 PM, and a public talk about the development of Irwin’s work at the Crowley Theater in downtown Marfa at 3:30 PM. Selected works from The Chinati Foundation’s permanent collection will be open throughout the weekend, and there will be a sunrise viewing of Judd’s works in mill aluminum and works in concrete on Sunday morning.

Robert Irwin

Robert Irwin was born in 1928 in Long Beach, California. He attended Otis Institute and Chouinard Art Institute in Los Angeles. Although Irwin began as an abstract painter and exhibited his work at the Ferus Gallery, Los Angeles, in 1970 he began to pursue a more philosophical and critical inquiry and his work shifted away from traditional paintings and objects to focus on a new type of environmental or experience-based art Irwin called “conditional”—room-filling installations that reconfigured light and space, created in direct response to existing architectural situations.

Neon At Transmission Gallery Oakland


Transmission Gallery is presenting an invitational exhibition of Neon Art featuring work by Bill Concannon, Roger Daniells, Meryl Pataky, Shawna Peterson and Bruce Suba. These artists work in the realm of physics and alchemy, harnessing neon, argon and, sometimes, krypton in colorful display and controlled light. As veterans of working with these noble gasses, often in the commercial world, they’ve taken the opportunity to play with glass, chemical elements, power sources and other materials to execute their own creative visions.

Exhibition Dates: June 3 – July 23, 2016
Opening Reception: Friday, June 3, 2016 from 6 – 9pm
Closing Reception: July 23, 2016 from 2 -5pm

Transmission Gallery
770 West Grand Ave.
Oakland, CA 94612

Jason Middlebrook At G16 In San Francisco

Jason Middlebrook
Jason Middlebrook
    This is the first West Coast solo show by Jason Middlebrook, a California native, in over a decade. His work has been the subject of major exhibitions and public projects around the world, most recently at Massachusetts Museum of Contemporary art and Site Santa Fe. The Gallery 16 exhibition will include 20 of Middlebrooks’ signature towering “Plank” paintings. These are geometric abstractions painted directly onto cut trunks from the local mill in Hudson, New York. Middlebrook’s weds the geometry of modern abstraction with the lines of wood grain to, in his words, “create a tension between something organic and something man-made.”

    Jason Middlebrook // The Small Spaces in Between
    Exhibition Dates: March 25 – May 6, 2016 //
    Opening Reception: MARCH 25TH, 6-9 PM with live music by Marc Capelle

    501 3rd Street
    San Francisco, CA 94107

Munich: Nate Boyce At Kunstverein München

Nate Boyce
Nate Boyce

Polyscroll is a series of vertically-oriented videos, which Boyce has been producing since 2014. For the duration of his exhibition in the Schaufenster, each video in the series will be screened successively on loop. During the day, the simulated light conditions will contrast those created naturally by the sun. At night, the absence of natural light or any reflection in the glass will accentuate the three-dimensional quality of the scrolling polychromatic imagery, elastically shifting forms, and the alien dimensions Boyce modeled to contain it all.” – Kunstverein München

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Polyscroll ist eine Serie hochformatiger Videos, die Boyce seit 2014 produziert hat. Während seiner Ausstellung im Schaufenster wird jedes Video dieser Serie nacheinander als Loop gezeigt. Tagsüber werden die simulierten Lichtbedingungen der Videos einen Kontrast zum natürlichen Tageslicht bilden. Demgegenüber werden nachts die Dunkelheit und die fehlenden Lichtreflexe auf der Scheibe dazu führen, dass die dreidimensionalen Qualitäten der nach unten gescrollten bunten Bilderwelten, die ineinander übergehenden Formen und das befremdliche Format, das Boyce als gemeinsame Klammer gewählt hat, umso deutlicher in Erscheinung treten.

Nate Boyce: Polyscroll I, II, III, IV
Exhibition Dates: February 2 – March 13, 2016

Kunstverein München
Galeriestrasse 4 (Am Hofgarten)
80539 Munich

Brooklyn: Sticks & Stones At Brilliant Champions Gallery


“Sticks & Stones” is a two-person exhibition featuring sculpture by Damien Hoar de Galvan and paintings by Nick Jaskey. The exhibition highlights the materials in which the artists work and their function as a means to explore the medium.

About the Artists:
After studying behavioral science as an undergraduate, Damien Hoar de Galvan completed the post-baccalaureate program at the School of the Museum of Fine Arts, Boston in 2008. For the last 6 years, he has been making intricate sculpture out of wood that builds on both the emotional and behavioral study of his material.

The works, standing tall and thin are made of small bits of wood: some painted, some found, recycled or reused. The bright layered colors and textures of wood are compressed together creating playful forms. Conflicting moments within the work where structural obstacles that the artist encounters in the stratum of wood become the highlighted beauty spots. The process is displayed prominently in the smallish wooden sculptures. The face of the object is refined and full of feelings, while the back is bound and supportive.

Nick Jaskey is a self taught painter hailing from Detroit, whose paintings are made with muted, monochromatic hues of house paint on wood panels. His work is motivated by a decade of writing graffiti and photography.

Inspired by the subtleties of his environment, Jaskey references color, composition and textures depicted in his photography and translates them into his paintings. He uses unwanted colors and mistints that might typically clash with each other, exaggerating the system of patterns and jagged, rock-like forms in his paintings. The patterns transform into a chaotic background, where the organic forms pepper the foreground and create an abstraction of geometric, hard edges.


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Exhibition Dates: February 19 – March 1, 2016
Opening Reception: Friday, Februry 19, 6pm – 9pm

Brilliant Champions Gallery
5 Central Ave
Brooklyn, New York 11206
Gallery Hours: Tuesday – Saturday: 11am – 5pm & by appointment