Pace Galleries

Robert Mangold

Column Paintings

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About Robert Mangold

Since the beginning of his career in the mid-‘60s, Robert Mangold (b. 1937, North Tonawanda, NY) has combined the classic elements of composition—shape, line, and color—to create abstract works of architectural scale, drawing by hand thick and thin graphite lines on subtly modulated planes of color. Following his first solo exhibition in 1964, Mangold’s work has been the subject of numerous single-person exhibitions and retrospectives at institutions including the Guggenheim Museum, New York; the Stedelijk Museum in Amsterdam; the Akron Art Museum; the Hallen für neue Kunst, Schaffhausen, Switzerland; the Allen Memorial Art Museum, Oberlin College; the Hallen für neue Kunst; the Museum Wiesbaden; the Parasol Unit Foundation for Contemporary Art, London; and the Albright-Knox Art Gallery, Buffalo. Mangold joined the Gallery in 1991.

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Press Release

  • Robert Mangold: Column Paintings and Donald Judd: Large-Scale Works
    Two new exhibitions open at PaceWildenstein, 534 West 25th Street, New York City next week: Robert Mangold: Column Paintings and Donald Judd: Large-Scale Works. An opening reception will be held on Thursday, October 14 from 6 – 8 p.m. The Mangold exhibition will feature eight acrylic and black pencil on canvas works from 2003-2004 that range in size from 10’ - 12’ ¼” tall to 1’ - 3’ wide and the show will also include one triptych, Three Column/ Figures 5, 2003. A full color catalogue with an essay by the novelist and essayist Francine Prose accompanies the exhibition. The Judd exhibition will consist of five sculptures including three of the artist’s stacks from 1988 and 1991, as well as concrete and Cor-ten steel floor pieces from the late 1980s. A catalogue with full color reproductions and an essay by Rudi Fuchs, former director of the Stedelijk Museum, Amsterdam and current guest lecturer in Art Practice at the University of Amsterdam, will be published on the occasion of the exhibition. The exhibitions will be on view from October 15 through November 13, 2004. Investigating Mangold’s column paintings within the context of traditional artistic and architectural systems Prose writes, “Whatever we might have thought we knew about drawing, architecture and painting, about a curve or a wall or a column – all of it is quietly subverted, replaced with something new.” By entering into a dialogue with the work, the viewer’s conventional expectations, assumptions, and experience are subsequently altered. Prose also discusses the history of the column as a widely used art and architectural form, from the monumental Trajan’s Column in Rome (c.113 A.D) to Brancusi’s Endless Column (1938). In his discussion of Donald Judd’s materially sublime and perfectly constructed works, Fuchs writes “…one senses that the materiality of the piece has imperceptibly vanished. What lingers on is almost a motionless apparition – of surface and color only, and reflected light, glow, shadows.” Fuchs underlines the importance of viewing Judd as he wanted to be seen, “not as a minimal formalist, but as a master of color.”
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Francine Prose

2004. PaceWildenstein. Paperback

44 pages: 11 color illustrations; 11 ½ x 8 ⅝ inches



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