Lawrence Weiner, Untitled, 1966. Courtesy Fischer Collection, Dusseldorf.
If, as Robert Barry has stated, “conceptual art was the end of modern art,” this exhibition looks at the moment just before this major shift, presenting a show of last paintings produced in the 1960s by the historical group of conceptual artists. Bringing together a group of painted works by ART & LANGUAGE, MICHAEL ASHER, ROBERT BARRY, IAN BURN, JAN DIBBETS, DOUGLAS HUEBLER, JOSEPH KOSUTH, LAWRENCE WEINER and IAN WILSON this exhibition will make manifest the pivotal moment just before these artists dove into a realm of art made of not objects, but of ideas.
“The idea behind this exhibition is to show the last paintings of conceptual artists, who often, before becoming conceptual artists, were abstract painters with works often minimal, sometimes monochromatic,” states OLIVIER MOSSET, the curator of this exhibition.
As a painter himself, Mosset is interested in looking at the major change that took place in the visual arts during the 1960s with a move from abstraction to conceptual work. Mosset has worked for over 40 years within painting's particular limitations and with deep appreciation of the power and physicality of color. While considering the issues of ‘relevance’ that art - both painted and conceptual - have faced, this show engages with the various histories of painting’s supposed art historical deaths. Olivier Mosset conceived of ‘Before The End (The Last Painting Show)’ in collaboration with the Swiss Institute – Contemporary Art and was first on view at Le Consortium, Dijon (March 23 - June 19, 2004).
Ian Wilson, Red Square, 1966, fiberglass and pigment, 52x52 cm. Courtesy of Peter Blum Gallery, NY.
Art & Language, Untitled Painting, 1965, mirror on canvas, 2 elements 102x61x10 cm. Courtesy of Mulier Mulier Gallery, Knokke-Zoute, Belgium.
Joseph Kosuth, Post Painting, 1963-64, acrylic on canvas, 20x20x7 cm. Courtesy of the artist and Sean Kelly Gallery, NY.
Ian Burn, Blue Reflex, 1966-67, car laquer over epoxy base on plywood panel, 119.5x79.5x3.4 cm. Courtesy of DaimlerChrysler AG.
Michael Asher, No Title, 1966-2004, Canvas over Forty-Five degree wooden, stretcher, 121.9x121.9 cm. Courtesy of the artist.
Lawrence Weiner, Untitled, 1966, acrylic on canvas, 38x34 cm. Courtesy of Fischer Collection, Düsseldorf.
Art & Language, Painting-Sculpture, 1965, acrylic on wood, 2 elements 61x30.5 cm. Courtesy of Mulier Mulier Gallery, Knokke-Zoute, Belgium.
and Douglas Huebler, Untitled (relief painting), 1964, oil on wood, 114.5x136x13 cm. Courtesy of Darcy Huebler.
Douglas Huebler, Untitled (relief painting), 1964, oil on wood, 114.5x136x13 cm. Courtesy of Darcy Huebler.
Robert Barry, Untitled, 1967, acrylic on canvas mounted on wood, 10x10 cm. Courtesy of Gasser & Grunert, Inc, NY.
Art & Language, Untitled Painting, 1965, mirror on canvas, 2 elements 102x61x10 cm. Courtesy of Mulier Mulier Gallery, Knokke-Zoute, Belgium.
Michael Asher, No Title, 1966-2004, Canvas over Forty-Five degree wooden, stretcher, 121.9x121.9 cm. Courtesy of the artist
Lawrence Weiner, Untitled, 1966, acrylic on canvas, 38x34 cm. Courtesy of Fischer Collection, Düsseldorf.
Jan Dibbets, Stapelschilderij, 1967, oil on canvas, 8 elements 40x40x2.3 cm. Courtesy of Bonnefantenmuseum, Maastricht.
Press
| Sep 1, 2004 | Brian Sholis - Swiss Institute | Artforum | |