artists & participants
In the late 60’s, Galerie Yvon Lambert on Paris’ left bank emerged as a vanguard European venue for the artists who would become the decade's most influential Minimalists and Conceptual artists. Today, Yvon Lambert Gallery in Chelsea honors this past by inviting artist Jonathan Monk to curate an exhibition that revisits the emblematic works and ideas of this extraordinary period of time.
With a playful and purposefully reductive title, Monk’s exhibition engages the processes of art history and the ways in which information is passed from one generation to the next. Among the drawings, sculptures, paintings, collages, photographs, and films selected by Monk will be works by Stanley Brouwn and Sol LeWitt that prefigured later Conceptual practices. The remarkable This Way Brouwn series was executed by Brouwn between 1960 and 1964 in Amsterdam. Also included will be an early wooden wall structure by Sol LeWitt, created in 1964.
The close of the decade brought works that responded to the physical and ideological conditions of the gallery space, and this exhibition includes two that were first created for Galerie Yvon Lambert in Paris. Fred Sandback’s Untitled (Blue Diagonal), 1970, will be re-installed at the entrance to Yvon Lambert’s Chelsea space, and a collaborative work by artist Robert Barry and art critic Lucy Lippard, titled Robert Barry presents an exhibition and a review by Lucy R. Lippard, 1971, will be on display in the north gallery. Richard Tuttle’s Paper Octagonal (1970) and a vinyl text by Lawrence Weiner, Ruptured (1970), will be re-figured for the walls of the gallery, and a new site-specific text installation by Barry will occupy the interior glass panels and exterior windows that wrap the Chelsea space. A 1988 photograph by Louise Lawler depicts the storage room of the gallery that was relocated from the Left Bank to the Marais in Paris. Another photograph, with traces of works by Sandback and Andre, was taken at the Collection Lambert in Avignon in 2003.
The exhibition will include documentation of early performances by Joan Jonas—her performance Wind was captured in a 1968 film by Peter Campus, and the adjacent images from Nova Scotia Beach Dance (1971) were photographed by Richard Serra. There will also be a selection of Carl Andre’s handwritten poems from 1972, a date painting by On Kawara, Robert Mangold’s X Perimeter Series (1969), a collage by Dennis Oppenheim, work in oil and wax by Brice Marden, a painting by Niele Toroni, and a new meeting piece by Jonathan Monk that proposes a return to Paris in 2019.
MINIMAL ARTISTS TRY TO MAKE SOMETHING LOOK LIKE NOTHING AND CONCEPTUAL ARTISTS TRY TO MAKE NOTHING LOOK LIKE SOMETHING, OR IS IT THE OTHER WAY AROUND?
mit Carl Andre, Robert Barry, Stanley Brouwn, Peter Campus, Joan Jonas, On Kawara, Louise Lawler, Sol Le Witt, Robert Mangold, Brice Marden, Jonathan Monk, Dennis Oppenheim, Fred Sandback, Richard Serra, Niele Toroni, Richard Tuttle, Lawrence Weiner
kuratiert von Jonathan Monk