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| Donald Judd, Untitled (DJ77-18) (meter box), 1977 - anodized aluminium |
This is a joyful exhibition of painting and sculpture, from the mid 1960s to the present, which uses colour as a principal component. Resolutely abstract, the work here, perhaps, confirms Donald Judd's observation (quoted in the exhibition text) that 'the necessities of representation inhibited the use of colour'. Colour is certainly liberated here, and to exhilerating effect. Donald Judd's own wall mounted box is a gorgeous indigo which is spectacularly complemented by David Annesly's exuberant ribbons of bright yellow steel; Ian Davenport's sensuous pool of poured paint fulfils Frank Stella's onetime ambition to make paintings that kept the paint 'as good as it was in the can'. A beautiful show.
Artists included are: Etel Adnan, Josef Albers, David Annesley, David Batchelor, Anthony Caro, Ian Davenport, Paul Feeley, Sam Gilliam, Peter Halley, John Hoyland, Donald Judd, Joseph Kosuth, Jeremy Moon, Kenneth Noland, Hélio Oiticica, Yuko Shiraishi, Frank Stella, Joe Tilson and William Tucker.
Read a review by Sam Cornish.
(Click on images to enlarge.)
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| Josef Albers, Study for Homage to the Square: "Persistent" (JAF:0610), 1954-60 - oil on masonite |
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| John Hoyland, 29.8.73, 1973 - acrylic on canvas |
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| William Tucker, Karnak, 1966 - fibreglass |
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| David Annesley, Orinoco, 1965 - painted steel |
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| Joseph Kosuth, II 49 (On Color / Multi #2), 1991 - multi-coloured neon |
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| Ian Davenport, Circle Painting: Turquoise, Yellow, Turquoise, 2001 - household paint on MDF |
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| Peter Halley, Blue Cell, 1999 - acrylic, pearlescent and metallic acrylic and Roll-a-Tex on canvas |
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