Larry Bell's sculptural works from the 1970s to the present day on view at Hauser & Wirth

The First Art Newspaper on the Net    Established in 1996 Thursday, February 29, 2024


Larry Bell's sculptural works from the 1970s to the present day on view at Hauser & Wirth
Untitled, 2019. Mist, Spa, Sunflower, and Optimum White laminated glass coated with Inconel. Unique. 2 panels Mist glass, 2 panels Spa glass, each: 30.5 x 40.6 x 0.6 cm / 12 x 16 x 1/4 in. 2 panels Sunflower glass, 2 panels Optimum White, each: 30.5 x 20.3 x 0.6 cm / 12 x 8 x 1/4 in. Overall: 30.5 x 40.6 x 40.6 cm / 12 x 16 x 16 in © Larry Bell. Courtesy the artist and Hauser & Wirth. Photo: Jeff McLane.



NEW YORK, NY.- Hauser & Wirth’s exhibition ‘Larry Bell. Still Standing,’ presents a range of the artist’s sculptural works from the 1970s to the present day. A pioneer in his approach to the surface treatment of glass, and a master of unprecedented explorations of light, reflection, and shadow, Bell has documented perceptual phenomena through a tirelessly inventive sculptural practice. This exhibition charts a less explored, but seminal moment in Bell’s practice when he began to radically deconstruct his signature glass cubes into the more architecturally-scaled, fragmented, crystalline forms or what he referred to as ‘standing walls.’ ‘Still Standing’ also presents a number of the artist’s small-scale studies, illuminating Bell’s process as he meditated on scale and translated his ideas into larger sculptural works. As a preventive measure and based on the guidance of health officials, Hauser & Wirth's galleries in New York are closed until further notice and open by appointment only.

Rather than being contained, Bell’s standing walls were site-specific to every space in which they were presented, wholly permeable to their setting. The immersive environments created by his standing walls were capable of challenging perception in new ways, their expansiveness opening viewers up to other ways of seeing. In examining this body of work, the exhibition highlights the artist’s critical contribution to the history of Minimalism and installation art. The exhibition traces Bell’s evolution after a move to Taos, New Mexico in 1973. Finding conventional gallery spaces of the time could not physically accommodate what he aspired to produce, Bell set out to make work on his own terms.

Bell’s installations quickly rose to acclaim as they attracted institutional exhibitions in the 1970s. Among the most widely known of the standing walls is ‘The Iceberg and Its Shadow’ (1974). This sweeping work, which consisted of fifty-six large-scale, freestanding glass panels, was first shown at the Fort Worth Art Museum, Texas, and later became part of the collection at the Massachusetts Institute of Technology.

Three standing wall works will be exhibited in Hauser & Wirth’s ground floor space, including two recent largescale icebergs. Standing at eight feet tall, these works embody the influence of the American West – the ways in which the distinctive light and vast, open space encourage a more wide-ranging vision of technical and aesthetic possibilities. The third standing wall and the earliest work in the exhibition, ‘Griffins Fracture’ (1977) employs glass coated with Inconel, and exemplifies his coated glass works by controlling the flow of natural light and modulation of shadows through reflective, translucent materials. Other pieces from this series have been exhibited in such institutions as Tate Gallery in London and the Chinati Foundation in Marfa, Texas, and notably in the 2011 exhibition Pacific Standard Time at the Getty Center, which renewed attention to this body of work. ‘Still Standing’ marks the first New York City gallery exhibition of the iceberg works. Ever changing and varying in transparency, opacity, and tone, these large scale sculptures act in direct dialogue with their environment.

The juxtaposition of small-scale sculptures with their larger scale counterparts showcase the artist’s process and the unparalleled technical skill he has brought to the fabrication of his art over the course of six decades. Featuring works with coated color glass – the first time these have been shown – the exhibition exemplifies the complexity of the optical techniques employed in Bell’s practice. Pieces such as ‘Untitled’ (1985), show Bell’s early experimentation with coating and improvisation. In ‘Glacier’ (1999), Bell tests a new iceberg form, while in Bell’s ‘nesting box’ works – open cubes without top or bottom panels – Bell updates his process to include color coated laminated glass sheets, such as in ‘Untitled’ (2019) in Mist, Spa, Sunflower, and Optimum White. These smaller scale works form a precursor to his larger works, demonstrating his process and forming a central part of his practice today.










Today's News

March 24, 2020

After the fire, a Chinatown museum sifts through what survived

Egypt disinfects landmark museum as virus fears grow

10 binge-worthy art podcasts in the age of coronavirus

Movie poster for The Invisible Man sold for $182,400 at Heritage Auctions

French fashion houses to produce coronavirus masks

Hindman's March 19 couture auction surpasses expectations

Larry Bell's sculptural works from the 1970s to the present day on view at Hauser & Wirth

Too close to call! Three-way tie for EY People's Choice Award at Sculpture by the Sea, Cottlesoe

Rare German Disney toys take a toothy bite out of Morphy's $1.6M auction

2020's strangest memorabilia auction now open for bids

Lafayette Anticipations presents Rachel Rose's first major exhibition in Paris

Kunstsammlung Nordrhein-Westfalen announces the launch of The Digital Museum

The Rijksmuseum is open online

Jeremy Marre, documentarian of world music, is dead at 76

Galerie Emanuel Layr presents an exhibition of works by Tillman Kaiser

Damiani to publish 'Lost Venice' by Sarah Hadley

Jessie Willcox Smith original cover art for '"Good Housekeeping'" to be auctioned

MOSTYN presents a new body of work by artist Athena Papadopoulos

Museo Picasso Málaga: Look, think and create with #Picassoencasa

All YIVO Institute for Jewish Research classes now free

Parrish Art Museum offers fun interactive online art programs for children and families

Woody Allen memoir released by new publisher after protests

Danny Ray Thompson, 72, dies; Mainstay of Sun Ra's otherworldly band

Eric Weissberg, 'Dueling Banjos' musician, dies at 80

7 Tips for Overcoming Creative Block

The Easiest approach to convert PDF to Word

Top 5 Reasons to Marry a Ukrainian Bride

For Your Next Fishing Adventure, Choose Finval Boats

Why traders prefer forex trading?

SMOK Nord 2 review - compatible with both Nord 2 Coil and SMOK Nord Coil




Museums, Exhibits, Artists, Milestones, Digital Art, Architecture, Photography,
Photographers, Special Photos, Special Reports, Featured Stories, Auctions, Art Fairs,
Anecdotes, Art Quiz, Education, Mythology, 3D Images, Last Week, .

 



Founder:
Ignacio Villarreal
(1941 - 2019)
Editor & Publisher: Jose Villarreal
Art Director: Juan José Sepúlveda Ramírez

sa gaming free credit
Attorneys
Truck Accident Attorneys
Accident Attorneys

Royalville Communications, Inc
produces:

ignaciovillarreal.org juncodelavega.com facundocabral-elfinal.org
Founder's Site. Hommage
to a Mexican poet.
Hommage
       

The First Art Newspaper on the Net. The Best Versions Of Ave Maria Song Junco de la Vega Site Ignacio Villarreal Site Parroquia Natividad del Señor
Tell a Friend
Dear User, please complete the form below in order to recommend the Artdaily newsletter to someone you know.
Please complete all fields marked *.
Sending Mail
Sending Successful