Opening on 26th September at the Hayward Gallery in London, Space Shifters will explore viewers’ perception of their surroundings and notions of gallery’s distinctive architecture. The exhibition will also engage with an alternative history of minimalism: not a geometric, austere, serial minimalism, but one with a more alluring, elegant and playful sensibility. Robert Irwin’s work Untitled (Acrylic Column), 1969–2011, a monumental and majestic clear acrylic column will rise over 4.5 metres
Pace congratulates Robert Irwin on his new installation for The Chinati Foundation. Sixteen years in the planning, this long-awaited installation further elaborates Donald Judd’s vision of Chinati as a singular place for contemporary art and is the first major addition to the collection since the opening of the Dan Flavin project in 2000 and the opening of the John Wesley gallery in 2004. Learn more about the permanent installation from The Chinati Foundation, here. Read more about Irwin's
Robert Irwin: All The Rules Will Change at the Hirshhorn Museum & Sculpture Garden will be the first US museum survey of Irwin’s work outside of California in nearly four decades and features pivotal paintings and sculptures from the 1960s and a new large-scale installation made in response to the Hirshhorn’s distinctive architecture. Irwin will give a lecture on Thursday, April 7 at 7 pm in the museum’s Ring Auditorium. Click here for more details. The artist, represented by Pace Gal
Two exciting projects for Robert Irwin have been announced for the upcoming year. For the past fourteen years, Robert Irwin has been developing a major new work for the Chinati Foundation’s permanent collection that will finally be unveiled in 2016. Robert Irwin: All the Rules Will Change a major exhibition runs April 7–Sept. 5, 2016, at the Smithsonian’s Hirshhorn Museum and Sculpture Garden. It is the first museum survey devoted to Irwin’s work from the pivotal decade of the 1960s, as well
Robert Irwin’s site-conditioned installation, Excursus: Homage to the Square³ is now on view at Dia:Beacon through May 2017. Originally presented at Dia Center for the Arts in Chelsea from 1998 to 2000, this new iteration is Irwin’s first installation for Dia:Beacon, for which he designed the master plan. The gallery’s layout is defined by floor-to-ceiling scrims that create a maze-like installation that, coupled with the colored gels Irwin has coated the windows and fluorescents lights with,
“There are simple, obvious questions if you follow the thread. But they are damn good questions—you can live a lifetime with them. That’s basically what I’ve been doing.” —Robert Irwin The Wall Street Journal’s Andy Battaglia praises Robert Irwin's philosophical minded approach to art in his new exhibition at Pace, Cacophonous. Irwin has been experimenting with art as an extension of perception and transcendence since the 1960s. Read the full article here. Robert Irwin: Cacophonous is on vie
Pace Gallery is pleased to announce its participation in the second edition of the ART 021 Contemporary Art Fair in Shanghai from November 12 to 16, 2014. Pace will present more than thirty works by a diverse group of international artists at booth 2-02. Pace’s presentation at Art 021 will include a selection of artists whose work employs quotidian materials and images. Yin Xiuzhen and Tara Donovan incorporate commonplace items such as recycled clothing in the case of the former and pins, Myla
Pioneer of the Light and Space movement, Robert Irwin has begun contruction on a major new project at the Chinati Foundation in Marfa, Texas. On being drawn to the Marfa landscape, Irwin tells the The Los Angeles Times: "It's in the middle of nowhere, but there's something enchanting about it." Click here to read the full story from The Los Angeles Times. For more information on the Chinati Foundation, click here.
Pace is pleased to announce its inaugural participation in ArtInternational Istanbul, taking place at Halic Congress Center, from 16–18 September 2013. The gallery’s booth D2 will include a selection of paintings, works on paper, sculptures, photographs, installations, video, and multimedia works spanning from the 1980s to the present.
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
This summer Robert Irwin has installed Double Blind at the Secession in Vienna. The "site-conditioned" work responds to the unique architectural features of the main gallery at the Secession. As with many of Irwin's installations, the piece engages with such themes as experience, illusion, and light. This is Irwin's first solo show in Vienna. Irwin's installations are also on view this summer at Pace London. New work, including Who's Afraid of Red, Yellow, and Blue and Piccadilly are on view
On the occasion of the reinstallation of this formative work, Scrim veil—Black rectangle—Natural light, Whitney Museum of American Art, New York (1977), made specifically for the Whitney’s fourth floor gallery, Robert Irwin spoke about this seminal example and its significance for his larger career in conversation with Donna De Salvo, the Whitney’s Chief Curator and Deputy Director for Programs. Rober Irwin in Conversation with Donna De Salvo Thursday, July 25, 2013 at 6:30 PM $8 gener
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
Pace is pleased to announce its inaugural participation in SP-Arte, taking place at the Pavilhão Ciccillo Matarazzo, in São Paulo from 4 – 7 April 2013. The gallery’s booth (G2) will include Joel, a large-scale oil-on-canvas portrait of American sculptor Joel Shapiro by Chuck Close; an elegant sculpture by Alexander Calder; a stained glass sculpture homage to the legendary Brazilian architect Oscar Niemeyer by Brian Clarke; and a painting by Mark Rothko. The gallery is proud to feature work
Pace is delighted to announce its participation in Art Dubai, held from 20 to 23 March. Highlights of Pace’s booth (J14) will include Les Trois Pics, a monumental black stabile by Alexander Calder; three of Hiroshi Sugimoto’s Dioramas; and a wood sculpture by American artist Maya Lin. Pace will also show works by Yto Barrada, Brian Clarke, Keith Coventry, Tara Donovan, Kevin Francis Gray, Robert Irwin, Maya Lin, Yoshitomo Nara, Michal Rovner, Lucas Samaras, Bosco Sodi, Hiroshi Sugimoto, James
James Turrell / Robert Irwin / Larry Bell / Dan Flavin Pace is pleased to present The Substance of Light, an exhibition at Cuadro Fine Art Gallery in Dubai from 6 November 2012 to 6 January 2013. This exhibition, the first by Pace in the Middle East, features iconic works by four of the most significant artists who have historically worked in light: Larry Bell, Dan Flavin, Robert Irwin, and James Turrell. The fourteen works in the exhibition explore the contrast between artists who seek to
This year’s crop of artists elected to membership of the National Academy is by far the most aesthetically diverse class in the institution’s 187-year history, owing to a major adjustment to the eligible categories that Academicians voted in favor of last year — which enabled the inclusion of photographers, video, and performance artists. Among this year’s 23 inductees are many pillars of contemporary art, including Cindy Sherman, Bruce Nauman, Richard Tuttle, and Robert Irwin. The shedding of t
The installation artist discusses Marfa, West Texas’s haven for artists and creators, and “conditional art”—his pursuit for nearly a half-century. He was filmed at the Pace Gallery in New York City, where his exhibition “Dotting the I’s & Crossing the T’s: Part I” is currently on view. Part I runs through July 13 at the gallery’s location at 32 East 57th Street; Part II will open in September at 510 West 25th Street.
You can just glimpse it if you peer over the green construction fence at the new federal courthouse downtown. But you might not notice it. There's a simple-looking beam inside the lobby, wrapped in the way you might cover a piano to keep it from dust and debris while construction continues. But the 33-foot-tall column under the shroud is not just any old functional beam. The column is an important sculpture, liberated from a basement at a university in Northridge. The long-awaited $385 million f
Episode No. 26 of The Modern Art Notes Podcast features Robert Irwin. An exhibition of Irwin’s newest work is on view now at The Pace Gallery in New York, where Irwin and host Tyler Green taped this week’s show. Irwin’s recent exhibition highlights have included a fantastic 2007 semi-retrospective at the Museum of Contemporary Art San Diego, a 2006 presentation at the Chinati Foundation in Marfa, Texas and a long-term installation at Dia Center for the Arts in New York that opened in 1998.
Robert Irwin may not have the most works in the most shows affiliated with Pacific Standard Time. But he’s arguably the most important artist in the Getty-sponsored initiative. Art in California, and around the world, would not look the way it does today if not for Irwin, who has been exhibiting his influential paintings, sculptures and installations for 55 years. It all started in 1957. Just after the 29-year-old had finished hanging his first solo show at Felix Landau Gallery, he got a good, c
"Ingenious” is the first word that comes to mind upon encountering this magical, mystical installation by Robert Irwin, who, as it happens, received a MacArthur “Genius Grant” in 1984. The Museum of Contemporary Art San Diego’s artist in residence, Irwin is internationally known as a master of the California Light and Space Movement and designer of the Getty Center Garden in Brentwood. He conceived this installation for the museum’s breathtaking oceanview gallery. The title, “1° 2° 3° 4°,” refer
Down the block towards Madison Avenue is the Pace Gallery, whose various divisions (tribal art, prints, photography) occupy four floors in the building. On two is the show of new Light and Space works by Robert Irwin, and they could not be lovelier, even if they are made from six-foot-tall fluorescent lights. Irwin covers his tubes with mylar gels, most of them configured like racing stripes (an amusing touch), subtly altering the hues in ways that are not easy to see. Some of Irwin’s tubes, mor
Cast off the winter chill and soak up the rays of six fluorescent sculptures by the master of the West Coast’s Light and Space movement. Alternating tubes of purplish blue, lime green, and lemon yellow in the large-scale work “Pacific Jazz” enliven the gallery, while the sage and gold of “Way Out West” evoke a desert at sunset. Smaller works made of glowing white and unlit neon tubes provide a cool counterbalance to all the Southern California heat. Through Jan. 29. To read this article on The
You’ll be transported back to the 1990s when Weezer’s power chords ricochet around Roseland Ballroom tonight. Clad in his ever-present plaid and retro horn-rims, Rivers Cuomo is the Peter Pan of the music world -- retaining the same semi-sad fear of grown-ups, still capable of ripping a few guitar licks that make you sure all is right in the universe. To seal in the nostalgic flavor, Weezer will only play songs from their 1994 debut, “The Blue Album,” and 1996’s “Pinkerton.” Even if the wind chi
Reporting from San Diego — No one seems more tickled than Robert Irwin himself by where the artist, at 81, has landed. "It's fairly humorous," he says with a smile. Whatever the unsavory circumstances, "I come up smelling like a rose. I like what I'm doing." In his customary jeans and baseball cap, he sits among his newly installed work at Quint Contemporary Art in La Jolla, not exactly smug but clearly satisfied. This is his first commercial gallery show in California in 30 years, the result of