Laddie John Dill

Laddie John Dill

  Mary Corse   Untitled (White Inner Band), 2002  Glass microspheres in acrylic on canvas  8' x 8'   

Mary Corse

Untitled (White Inner Band), 2002

Glass microspheres in acrylic on canvas

8' x 8'

 

  Mary Corse   Untitled (White 9 Multi-Inner Bands, Beveled), 2012  Glass Microspheres in acrylic on canvas  4' x 6'

Mary Corse

Untitled (White 9 Multi-Inner Bands, Beveled), 2012

Glass Microspheres in acrylic on canvas

4' x 6'

  Mary Corse    
  
 
  
     
  
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       Untitled (Red/White/Black Bands, Beveled),    2010    Glass microspheres in acrylic on canvas    2’ x 9’ 

Mary Corse

Untitled (Red/White/Black Bands, Beveled), 2010

Glass microspheres in acrylic on canvas

2’ x 9’ 

  Mary Corse     
  
 
  
    
  
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    Untitled (Black vertical Band/Black outer Bands)    2001    Glass Microspheres in Acrylic on Paper    22 ¾” x 38” 

Mary Corse

Untitled (Black vertical Band/Black outer Bands) 2001

Glass Microspheres in Acrylic on Paper

22 ¾” x 38” 

 Robert Irwin, Light Column, 1970                                                             Peter Alexander, Purple Wedge, 1969

Robert Irwin, Light Column, 1970                                                             Peter Alexander, Purple Wedge, 1969

  Terry O'Shea    Untitled slab   Cast resin     
  
 
  
    
  
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  13" x 13" x 3"

Terry O'Shea

Untitled slab

Cast resin 

13" x 13" x 3"

  Terry O'Shea     Untitled (Capsules)  x 10  Cast polyester resin     
  
 
  
    
  
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  Each 3" x 1.5"

Terry O'Shea

Untitled (Capsules) x 10

Cast polyester resin 

Each 3" x 1.5"

  Terry O'Shea     
  
 
  
    
  
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    Untitled Slab    1972    Cast resin    28.5” x 28.5” x 3.5” 

Terry O'Shea

Untitled Slab 1972

Cast resin

28.5” x 28.5” x 3.5” 


Nyehaus at Dallas Art Fair 2016

Booth F-26

April 14th - April 17th

 


Featuring:

Robert Irwin

Peter Alexander

 


 

 


Through the Looking-Glass

Robert Irwin’s Light Column, 1970 as Lens for

Peter Alexander’s Resin works from 1965 to the Present

“I see nobody on the road,” said Alice.

“I only wish I had such eyes,” the King remarked in a fretful tone.

“To be able to see Nobody! And at the distance, too! Why it’s as much as I can do to see real people, by this light!”

-- Lewis Carroll, Through the Looking-Glass

In their attempt to capture the visual impact of the toxic Southern California sky and the murky depths of the Pacific, a group of artists in the ‘60s coopted advanced industrial plastics for the task.  While Titian or Turner could be considered the earliest pioneers of Light and Space art, their work depicts, rather than conjures, the physical visual impact of the ethereal.  This group is not confined by the intrinsic inertia of paint, a single static moment.  Their work is a virtually invisible cauldron filled with light and color that is stirred by the ever-changing atmosphere where the work resides.

The pairing of Robert Irwin’s conceptual “last object,” a clear acrylic column (created in 1969-1970), with Peter Alexander’s translucent resin sculptures in a lickable pallet of Pop colors, is an incendiary combination, the Charlie Parker-and-Dizzy Gillespie kind of combustible.

Irwin’s Column, three-finned, 9’ tall and 4” in diameter, functions as a divining rod for light and hue.  The geometry of the column sets in motion a pinball effect of light and color rebounding between and distorting, and ultimately coagulating pigment back into the elemental spectrum.  As in all of Irwin’s work and Alexander’s as well, the limitations of our rods and cones are tested similarly to the way an athlete’s cardiovascular system is challenged by extreme physical exertion. Opiates are released as our eyes reach the outer edges of their perceptual limitations.

Alexander’s work, resin cast into austere symmetrical forms, stripped bare of the ornamental, strives to harness the precise moment an object devolves into atmosphere, losing all structure; the instant when Aphrodite transmutes from human to myrrh tree.  This is not static, but pulses between these two states.  The intrinsic properties of Alexander’s precise color selection, or anti-color selection, is where the alchemy and ecstasy happens.

  Robert Irwin   Light Column, 1970  111" x 5" x 5" 

Robert Irwin

Light Column, 1970

111" x 5" x 5" 

    Peter Alexander       Purple Wedge, 1969    Polyester Resin      79" x 5 1/4" x 4 1/2"    

  Peter Alexander

  Purple Wedge, 1969

  Polyester Resin 

   79" x 5 1/4" x 4 1/2" 

 

  Peter Alexander   Gray green wedge, 2014  Urethane  79" x 5 1/4" 4 1/2"   

Peter Alexander

Gray green wedge, 2014

Urethane

79" x 5 1/4" 4 1/2"

 

  Peter Alexander   Untitled (Sphere within Cube), 1965  Polyester Resin   7.25" x 7.25" x 7.25"

Peter Alexander

Untitled (Sphere within Cube), 1965

Polyester Resin 

7.25" x 7.25" x 7.25"

  Peter Alexander   Red Cube, 2015  6" x 8" x 8"

Peter Alexander

Red Cube, 2015

6" x 8" x 8"

  Peter Alexander    Turquoise Wedge, 2015  Urethane  6 5/8" x 8" x 8"

Peter Alexander

Turquoise Wedge, 2015

Urethane

6 5/8" x 8" x 8"

  Peter Alexander    Leaner, 2015  Urethane   95" x 4" 3" 

Peter Alexander

Leaner, 2015

Urethane 

95" x 4" 3" 

  Peter Alexander   Three Black Bars, 2015  Urethane   76" x 6.5" (each)

Peter Alexander

Three Black Bars, 2015

Urethane 

76" x 6.5" (each)