Off the Wall
May 01, 2016 - May 31, 2016
Breaking away from artistic conventions, the artists in Off the Wall innovatively explore the relationships between painting, sculpture, and architecture. In Off the Wall the relationship of work to wall and wall to floor is at the heart of the work, whether on paper or in metal or wood, straight-edged or curvilinear. Color and form are made to interact with both the wall and the space of the viewer. As Ellsworth Kelly explained to composer John Cage, he wanted his works, both paintings and sculpture, to hang where they 鈥渕eet the eye 鈥� direct.鈥�
The exhibition also explores the interplay of positive and negative space. You can鈥檛 look at George Thiewes鈥� Points Points Points, for example, a black sculpture hung on a white wall, without considering the relationship of the sculpture鈥檚 form to its backdrop 鈥� the piece appears to slice the wall.
With Devorah Sperber鈥檚 After The Mona Lisa 2, spools of thread appear as an abstracted arrangement of multi-colored blocks/3D pixels 鈥� abstracted in that Mona Lisa is upside down and backward. A viewing sphere rotates the imagery 180 degrees back to the correct orientation and reduces the pixels/spools into recognizable images. The sphere offers a different view, accentuating the illusion of sculptural three dimensions as it exists in flat paintings.
Each of the artists in Off the Wall are being featured because three-dimensional works are an important part of their practice. The variety of sculpture in the exhibition demonstrates the striking and inventive possibilities inherent in the form.
The exhibition also explores the interplay of positive and negative space. You can鈥檛 look at George Thiewes鈥� Points Points Points, for example, a black sculpture hung on a white wall, without considering the relationship of the sculpture鈥檚 form to its backdrop 鈥� the piece appears to slice the wall.
With Devorah Sperber鈥檚 After The Mona Lisa 2, spools of thread appear as an abstracted arrangement of multi-colored blocks/3D pixels 鈥� abstracted in that Mona Lisa is upside down and backward. A viewing sphere rotates the imagery 180 degrees back to the correct orientation and reduces the pixels/spools into recognizable images. The sphere offers a different view, accentuating the illusion of sculptural three dimensions as it exists in flat paintings.
Each of the artists in Off the Wall are being featured because three-dimensional works are an important part of their practice. The variety of sculpture in the exhibition demonstrates the striking and inventive possibilities inherent in the form.
Recommended for you
Mar 27,2025
- May 23,2025
Breaking away from artistic conventions, the artists in Off the Wall innovatively explore the relationships between painting, sculpture, and architecture. In Off the Wall the relationship of work to wall and wall to floor is at the heart of the work, whether on paper or in metal or wood, straight-edged or curvilinear. Color and form are made to interact with both the wall and the space of the viewer. As Ellsworth Kelly explained to composer John Cage, he wanted his works, both paintings and sculpture, to hang where they 鈥渕eet the eye 鈥� direct.鈥�
The exhibition also explores the interplay of positive and negative space. You can鈥檛 look at George Thiewes鈥� Points Points Points, for example, a black sculpture hung on a white wall, without considering the relationship of the sculpture鈥檚 form to its backdrop 鈥� the piece appears to slice the wall.
With Devorah Sperber鈥檚 After The Mona Lisa 2, spools of thread appear as an abstracted arrangement of multi-colored blocks/3D pixels 鈥� abstracted in that Mona Lisa is upside down and backward. A viewing sphere rotates the imagery 180 degrees back to the correct orientation and reduces the pixels/spools into recognizable images. The sphere offers a different view, accentuating the illusion of sculptural three dimensions as it exists in flat paintings.
Each of the artists in Off the Wall are being featured because three-dimensional works are an important part of their practice. The variety of sculpture in the exhibition demonstrates the striking and inventive possibilities inherent in the form.
The exhibition also explores the interplay of positive and negative space. You can鈥檛 look at George Thiewes鈥� Points Points Points, for example, a black sculpture hung on a white wall, without considering the relationship of the sculpture鈥檚 form to its backdrop 鈥� the piece appears to slice the wall.
With Devorah Sperber鈥檚 After The Mona Lisa 2, spools of thread appear as an abstracted arrangement of multi-colored blocks/3D pixels 鈥� abstracted in that Mona Lisa is upside down and backward. A viewing sphere rotates the imagery 180 degrees back to the correct orientation and reduces the pixels/spools into recognizable images. The sphere offers a different view, accentuating the illusion of sculptural three dimensions as it exists in flat paintings.
Each of the artists in Off the Wall are being featured because three-dimensional works are an important part of their practice. The variety of sculpture in the exhibition demonstrates the striking and inventive possibilities inherent in the form.
What's on nearby
Dec 06,2024
- May 25,2025
