Edda Renouf: Structures and Fields, Drawings 2011-2017

September 13 - November 4, 2017

Edda Renouf (American, b. 1943)
Open Field-2, from Open Field Series, 2017
Incised lines, ink, graphite, and yellow pastel chalk on Arches paper
15 x 15 inches

Senior & Shopmaker Gallery is pleased to announce Edda Renouf: Structures and Fields, Drawings 2011-2017, the artist’s second exhibition at the gallery since 2013.  The exhibition is comprised of four distinct bodies of drawings created over a six-year period, which, despite different techniques and imagery, are linked by the artist’s thematic concerns and interest in revealing the properties inherent in her materials. Born in Mexico City in 1943 and educated in New York, Renouf, an American, has lived in Paris since 1992.

A painter of subtle, layered, abstract canvases, Renouf is also a quintessential and deeply intuitive graphic artist, approaching paper as a sculptor handles plaster or marble, teasing out materiality by rubbing, scoring, and incising its surface. These interventions may take place either before and after the artist draws on the sheet with ink, graphite, and oil or chalk pastel. The paper support thereby becomes an integral element in a dynamic interplay between process, material, and image.

While Renouf’s vocabulary is emphatically reductive, the new drawings suggest psychological and/or topographic spaces, and engage the viewer in a visual journey generated by the rhythms of an evolving body of work made over time. The focus of the Changed Structure series is the purest essence of the paper itself, which Renouf scores to create networks of incised lines whose raised edges cast minute shadows across the surface. Delicate nets of black ink or graphite dots tattoo the surface. In the second group of drawings, a ladder motif appears in different variations against the ground of the paper, an unmistakable metaphor for an aspirational journey heavenwards towards light and the immaterial. Black ink and white oil pastel tether these ladders to their metaphysical locations, weighting them against the barely visible texture of the cotton rag paper.

The exhibition crescendos in the drawings from the Light Field series of 2016-2017 in which a sunlight yellow oil pastel that fills Renouf’s finely drawn geometric forms appears like a bolt of light entering a room. This bright yellow is sometimes juxtaposed with a dense white oil pastel that forms a contrasting counterweight. Each drawing in the series explores the logic of an internal architecture of floating solid or empty shapes, as in Light Passage, 2017, the most ebullient with its four bands of syncopated bright color. The series shows Renouf ‘s hand at its most assertive and insistent in consigning light to paper.

The show concludes with very recent chalk pastel drawings titled Open Field in which Renouf rubs the dusty, earth-based pigment over the entire sheet, revealing the texture of the paper before incising it with lines. The surface is subjected to erasure in certain areas, creating an overall sense of a weathered and ancient frescoed wall. Suffused with a gentler, more nuanced light, these drawings represent a return to landscape with their linear structures suggestive of horizons and enclosures, the end of a journey or perhaps the beginning.

This year, Edda Renouf's work was included in the group exhibitions, The American Dream: Pop to the Present, organized by the British Museum, London, and 500 Years of Drawing, Bowdoin College Art Museum, Brunswick, Maine. Edda Renouf- Visible Sounds, a solo exhibition of recent paintings and drawings, was presented at Annely Juda Fine Art, London in spring 2017. The artist’s work is found in numerous public collections including the Metropolitan Museum of Art; the Museum of Modern Art and the Whitney Museum of American Art in New York; the National Gallery of Art, Washington, D.C.; the Art Institute of Chicago; the Los Angeles County Museum of Art; the Centre Pompidou in Paris; the British Museum in London; and the Australian National Gallery in Canberra, among many others.

For further information, please contact gallery@seniorandshopmaker.com.

Hans Hinterreiter: Constructivist Compositions, 1932-1982

Hans Hinterreiter (Swiss, 1902 - 1989) Opus 68 1958 tempera on paper 9 1/2 x 13 1/4 inches (24.1 x 33.7 cm)

Hans Hinterreiter (Swiss, 1902 - 1989)
Opus 68
tempera on paper
9 1/2 x 13 1/4 inches (24.1 x 33.7 cm)

Senior & Shopmaker is pleased to present a survey of paintings on paper by the Swiss abstract artist Hans Hinterreiter. Featuring works painted between 1932 and 1982, this presentation marks the artist’s first one-person exhibition in New York in more than 25 years.

Born in Winterthur, Switzerland in 1902, Hinterreiter would go on to become a devoted practitioner of Constructivist Art. Together with Max Bill, Hans Fischli, Fritz Glarner, Camille Graeser, and Richard Paul Lohse, Hinterreiter helped to establish the Zurich Concrete artists group which became Switzerland’s principal contribution to post-war art.

As a student of architecture in 1920, Hinterreiter’s studies were soon complemented by classes in painting, art history, and piano. By 1930 he would abandon the practice of architecture to devote his full attention to painting. Influenced by the aesthetic writings and color theories of the German physicist and philosopher, Wilhelm Ostwald (1853-1932), Hinterreiter abandoned traditional figurative painting in favor of an abstract pictorial language rooted in mathematics, geometry, color theory, music, and ornamentation. In the ensuing 50 years, Hinterreiter applied his sense of design and aesthetic intuition to achieve paintings imbued with a rhythmic beauty.

Although by 1939 Hinterreiter would permanently take up residence on the Spanish island of Ibiza, in 1942 and 1947 he would exhibit with the association of modern Swiss artists known as the “Allianz” at the Kunsthaus, Zurich. However, it was not until 1973, at age 71, that the artist enjoyed his first museum retrospective at the Kunstmuseum, Winterthur. In 1988, just a year before his death, a survey of Hinterreiter’s paintings was organized by the Solomon R. Guggenheim Museum, New York.

This exhibition at Senior & Shopmaker has been organized in association with the Hans Hinterreiter Foundation, Zurich. An e-catalogue with an essay by art historian Gail Harrison Roman will accompany the exhibition.

For further information, please contact gallery@seniorandshopmaker.com.

Brice Marden: Prints

March 11 - April 29, 2017

Brice Marden
Suzhou I-IV, 1998
set of 4 etchings with other media on Somerset paper
25 5/8 x 18 3/4 inches each (37.5 x 22.2 cm)
Edition of 45

Senior & Shopmaker is pleased to present Brice Marden: Prints, a selection of the artist’s graphic works spanning the years 1973 to 2001. Since the beginning of his printmaking career in the late 1960s, Marden’s physical engagement with materials along with the presence of an organizing grid or structure, even in the organic linear compositions of his later work, have been integral components.

This exhibition includes Five Plates, 1973, a series of large-scale aquatints with etching that relate to Marden’s Grove Group paintings of the early 1970s, inspired by the Greek landscape and notable for their dense and opaque monochrome surfaces. The solid geometry of Five Plates gives way by 1979 to the open grids of Tiles, a set of four etchings derived from the artist’s idea for the making of ceramic tiles.  Marden used a twig dipped in sugar solution to draw on the plates—a method that he began to explore more fully in the calligraphic, Asian-inspired imagery which developed during a major stylistic transition after a trip to the Far East in the mid-1980s. The zenith of this looser drawing style is found in Cold Mountain: Zen Study 1, 1991 from a series of six, large plate etchings characterized by meandering, intuitively drawn lines that are discretely organized into distinct vertical couplets and connected glyphs. The series title and its forms refer to writings by the celebrated poet Han Shan, known as “Cold Mountain,” who was active in China during the Tang dynasty (618–907).

In After Botticelli I, 1993, Marden adapted the serpentine lines of the Florentine Renaissance master Sandro Botticelli, celebrated for his use of line both to ornament and to convey movement. The vertical forms that appear in the etching refer to distinct columnar figures. Also dating from 1993 is Han Shan Exit (1-6), a set of six etchings marked by increasingly fluid linear compositions. Line Muses, 2001 in some ways reconnects with Marden’s early minimal work. The line work meanders uniformly across the entire picture plane with no suggestion of figures, landscape, or characters, revealing the artist’s roots in Abstract Expressionism.

Brice Marden was born in 1938 in Bronxville, New York. In 2006, the Museum of Modern Art in New York organized a major retrospective of his paintings and drawings, which later traveled to the San Francisco Museum of Art and the Hamburger Bahnhof in Berlin. Marden lives and works in New York.

For further information, please contact gallery@seniorandshopmaker.com

Polly Apfelbaum: Atomic Mystic Portraits

November 17, 2016 - January 14, 2017

Polly Apfelbaum
Atomic Mystic Puzzle 1
woodblock monoprint on handmade Japanese paper
25 x 25 inches

Senior & Shopmaker is pleased to present Polly Apfelbaum: Atomic Mystic Portraits, an exhibition of the artist’s recent monoprints and woodblock prints produced in collaboration with her longtime publisher, Durham Press. In her fabric sculptures, installations, ceramics, and works on paper, Apfelbaum explores complex formal and chromatic relationships, pushing the canon of modernist abstraction in decidedly original directions. Her work is steeped in references to feminism, women's work, craft, and fashion, and in particular the cultural associations inherent in pattern and design.

A recipient of the Rome Prize in 2013-14, Apfelbaum’s Italian visit led to a fascination with the drapery and colored fabrics depicted in Renaissance and Baroque paintings.  The fluorescent color of her Byzantine Rocker series is achieved by Apfelbaum’s employment of the split fountain or “rainbow roll” technique, in which multiple colors are partially mixed to achieve a continuous gradient effect. The technique appears again but in smaller segments in works such as Mosaic Mile, a large-scale monoprint inspired by decorative inlay mosaic floors typical of medieval Italian architecture. The “Cosmati” technique entailed elaborate inlays of small triangles and rectangles of colored stones. In Apfelbaum’s work, the effect is crafted from a lexicon of 1500 hand-laid, mosaic-like blocks which are inked and printed in different combinations on heavy handmade paper. The dazzling color and pattern of her new series, Atomic Mystic Portraits and Atomic Mystic Puzzles, are studies in the formal relationship of parts to the whole.

Born in 1955 in Abingdon, Pennsylvania, Polly Apfelbaum resides in New York. Her solo exhibition Face (Geometry) Naked (Eyes) is on view at the Ben Maltz Gallery, OTIS College of Arts and Design, Los Angeles, CA through December 4, 2016. Her work is included in the collections of the Perez Art Museum, Miami; Museum of Modern of Art, New York; Whitney Museum of Art of American Art, New York; Brooklyn Museum of Art, New York; Los Angeles County Museum of Art, Los Angeles; Albright-Knox Art Gallery, Buffalo, NY; Henry Art Gallery, Seattle; Dallas Museum of Art, Dallas; Philadelphia Museum of Art, Philadelphia; and Musée D’Art Moderne de la Ville de Paris, among others.


September 15 - November 12, 2016

Click here to view the exhibition catalogue

Bruce Conner
photo etching
19 9/16 x 16 5/8 inches
artist's proof

To coincide with the artist’s retrospective, BRUCE CONNER: IT’S ALL TRUE, which opened at the Museum of Modern Art on July 3 and continues through October 2, 2016, Senior & Shopmaker Gallery will present a one-person exhibition of photo etchings from Conner’s DENNIS HOPPER ONE MAN SHOW, 1971-73. In their final state, the twenty-six images that comprise the series were bound into three leather volumes; the gallery will exhibit rare unbound prints from the collection of the Conner Family Trust in San Francisco.

The genesis for this print project dates back to the late 1950s, when Conner began a series of paper collages using fragments of 19th-century engraved illustrations styled on those by French Surrealist Max Ernst. Conner’s collages depict a surreal, hallucinatory universe populated by images of flora and fauna, machine parts, and disembodied figures. His use of disparate appropriated and recycled materials parallel the techniques used to make the films and assemblages for which he is well known. Interested in shifting personas and subverting traditional notions of authorship, Conner attributed this body of work to his friend and fellow Kansas native, Dennis Hopper. The unwillingness in the mid-1960s of his Los Angeles dealer Nicholas Wilder to exhibit the work under another’s name, as well as Conner’s refusal to reveal his own identity, led to their relative obscurity during this time period.

A decade later, these collages became the source material for a series of photo etchings produced with Kathan Brown at Crown Point Press in Oakland, CA and published in 1971-73. In a performative full-circle, Conner returned the collages to their original printed state, producing twenty-six etchings bound in three black leather volumes and titled collectively DENNIS HOPPER ONE MAN SHOW VOLUMES I–III. Conner printed a limited number of unbound etchings, which will be on view in the exhibition. Acting simultaneously as artwork and as foil for a larger conceptual project, this series is considered by many to be among Conner’s major works.

The exhibition is accompanied by an illustrated catalogue with an essay by Rachel Federman, Assistant Curator of Modern and Contemporary Drawings at the Morgan Library & Museum and former Assistant Curator of Painting and Sculpture at the San Francisco Museum of Modern Art. Senior & Shopmaker Gallery is the exclusive representative of Bruce Conner’s editioned work from the Conner Family Trust.

BRUCE CONNER: IT’S ALL TRUE is the artist’s first monographic museum exhibition in New York and the first complete retrospective of his 50-year career. It brings together over 250 objects, from film and video to painting, assemblage, drawing, prints, photography, photograms, and performance from Conner’s varied oeuvre. Organized by the San Francisco Museum of Modern Art, the show will travel there in October 2016 and to the Museo Nacional Centro de Arte Reina Sofia, Madrid, in February 2017.