For over six decades, Robert Irwin (b. 1928, Long Beach, California) has explored perception as the fundamental issue of art. Irwin, who began his career as a painter in the 1950s and became a pioneer of the “Light and Space” movement in the 1960s, has, through a continual breaking down of the frame, come to regard the role of art as “conditional”—working within and responding to the specific surrounding world of experience. He has conceived over fifty-five site-conditional projects, including the Central Gardens for the Getty Center, Los Angeles (1992–98) and the architectural and grounds design for Dia:Beacon, New York (1999–2003). His large-scale permanent installation at the Chinati Foundation in Marfa, Texas (2001–16) is the first free-standing structure devoted exclusively to his work. Irwin received the Guggenheim Fellowship in 1976, the John D. and Catherine T. MacArthur “Genius” Award in 1984, and was elected as an Academician at the National Academy in 2012. Pace has represented Irwin since 1966.
To coincide with the exhibition of Robert Irwin’s new installations on view at Pace London, 6 Burlington Gardens until 24 August, please join us for the screening of “Robert Irwin: the Beauty of Questions” a fascinating documentary that captures the life, methodology and creations of the Light and Space artist at Pace London, 6-10 Lexington Street, W1F 0LB. A “Robert Irwin salon” featuring books and further video material on the artist’s exceptional career will accompany the screening of the d
On Thursday 20 June, Pace London opened an exhibition devoted to Robert Irwin. The show features new two site-specific installations and will remain open until 17 August 2013.
The Whitney presents Scrim veil—Black rectangle—Natural light, Whitney Museum of American Art, New York (1977), a large-scale installation by Robert Irwin that uniquely engages the Whitney’s iconic Breuer building and the natural light that emanates from the large window in the fourth floor gallery space. Read The New York Times's preview of Irwin's summer exhibition at the Whitney, here. Made specifically for the Museum’s fourth floor, the work has not been exhibited since its 1977 debu
1985. Lapis Press. Hardcover
158 pages: 60 illustrations; 9 x 9 ¾ inches