Art News:
FOR
IMMEDIATE RELEASE
November 16, 2012
Contacts
Katie Kazan, Director of Public Information
608.257.0158 x 237 or
katie@mmoca.org
Richard H. Axsom, Curator
608.257.0158 x 226 or rick@mmoca.org
High-resolution imagefiles are available to the media.
Madison Museum of Contemporary Art Presents
“The
Force of Color”
January 19-March 31, 2013
MADISON, WI--Where color in art is
freed from describing the objective world or telling a story, the experience of
color itself becomes the subject. As an adjunct to MMoCA’s exhibition of prints
by the great colorist Ellsworth Kelly, The Force of Color addresses the role
of strong color in the abstraction of the 1960s, the decade that witnessed the
recognition of Kelly as a major artist.
The exhibition, which features 26 works by 23 artists, will be on view
from January 19 to March 31, 2013, in the Madison Museum
of Contemporary Art’s State Street Gallery.
The term “colorist” is
used by scholars of western painting to mean an artist who makes vibrant color
a critical element of the work of art. From the High Baroque paintings of
Peter-Paul Rubens to the Impressionist canvases of Claude Monet, certain
painters have done just that—but not always with official sanction. In European
art academies, from the seventeenth century on, color was dismissed as secondary
to line in delineating subject matter: the former a matter of emotion, the
latter of logic. A fine painting was essentially a drawing filled-in with
color. Academic theory claimed that an overemphasis on color distracted the
mind and confused the senses, while the precision of line was a product of the
intellect.
With the
Post-Impressionists at the end of the nineteenth century, most especially
Vincent Van Gogh and Paul Gauguin, the use of color to emotionalize subject
matter was of paramount concern. It continued to be so for many artists in the
history of modern art, including, notably, Henri Matisse, Marc Chagall, and
Joan Miró. In the 1960s, toward the end of the modern tradition, emphatic color
in painting shifted dramatically from figuration to abstraction, most
especially in the color-drenched paintings of Helen Frankenthaler, Morris
Louis, and Frank Stella.
It is this moment in
the history of modern art that The Force
of Color addresses. During this period, artists’ interest in bold color was
discernible through both spontaneous forms and geometric shapes. In Sam
Gilliam’s Meeker’s Press (1976), splashes of robust color create an
Impressionist-like pattern, while in contrast, the geometric abstraction that
had taken hold during the 1960s was manifested in a different manner. With its
simple shapes and flat color, this direction was variously called Color-Field
Painting, Post-Painterly Abstraction, and Hard-Edge painting. Its assertive engagement
of the viewer’s eye and playful opticality of color and form also prompted the
name Op Art. The vertical color bars of Gene Davis’s Apricot Ripple
(1968), for example, keep the eye in constant motion. Fittingly, the exhibition
that enshrined Op Art in the public’s mind was presented by New York’s Museum of Modern Art in 1965 and was titled
The Responsive Eye. With the
emergence of an American and European print renaissance in the 1960s,
established painters were also able to explore color in the realm of print
media.
The Force of Color presents paintings and
prints from the permanent collection of the Madison Museum of Contemporary Art.
Although the works of art on view date from 1968 to 2009, the majority of
artists represented in the exhibition came to the fore during the 1960s,
including, among others, Gene Davis, Sol Le Witt, Robert Mangold, Jules
Olitski, Ray Parker, Bridget Riley, Frank Stella, and Victor Vasarely.
The 1960s brought the
sensuous and declarative use of color to its apogee. The onset of contemporary
art in the following decade saw the diminishing importance of painting and
abstraction in favor of other media and formats, including conceptual art,
installation art, and digitized photography, film, and video art. The association
of color with beauty has not been a prominent factor in contemporary art, where
color tends to be used conceptually to make political and social points. But
this was not the case in modern art, where color was championed as a central
pleasure.
__________
Hours at the Madison
Museum of Contemporary Art are Tuesday–Thursday (noon–5 pm); Friday (noon–8
pm); Saturday (10 am–8 pm); and Sunday (noon–5
pm). The museum is closed on Mondays.
Admission to exhibitions at the Madison Museum of Contemporary Art is free of
charge. MMoCA is supported through memberships and through generous
contributions and grants from individuals, corporations, agencies, and
foundations. Important support is also generated through auxiliary group
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rooftop garden; and sales through the Museum Store.
# # #
--
Katie Kazan
Director of Public Information
Madison Museum of
Contemporary Art
227 State Street
Madison, WI 53703
608.257.0158 x
237
Sign up for MMoCA email updates
at www.mmoca.org.