Pace Gallery NY 2015

8/20/2019 Pace Gallery NY 2015

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Lee UfanPace Gallery NY 2015 ISBN 9781935410751 Acqn 25120Hb 29x23cm 72pp 31cil ills £35

Since his foundational role in Japan’s Mono-ha (“School of Things”) movement in the 1960s, Leehas developed an oeuvre attuned to the interconnectedness of matter and consciousness.Referring to his artworks as “living structures,” he takes a philosophical approach to creatingthem, viewing his gestures and raw materials as entities that reveal conditions and states of theworld as well as our relationship to it. The exhibition highlights the artist’s continued attention tohow objects and gestures shape space and will feature new paintings, watercolours andsculpture.



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Tara Donovan

Pace Gallery NY 2015 ISBN 9781935410744 Acqn 25121Hb 27x30cm 172pp 96ills £53

Donovan made her first pin drawings in 2009, continuing her practice of accumulating commonobjects into dense, visually rich compositions. Using thousands of nickel-plated steel pins—amaterial typically used by tailors—pressed into white gatorboard, she creates shimmeringgradients through the clustering of pins and their interaction with light.The works negotiate a space between sculpture and drawing, using three-dimensional objects tocreate what, at certain distances, seems to be a two-dimensional fieldDonovan expands upon her previous series of pin drawings by inscribing an underlying geometryinto the structure of the drawings, which reveals itself through a multi-perspectival observation.When viewed from the side, we see the length between the pinhead and gatorboard, whichgenerates a new experience of the field of pins.



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Lucas Samaras - Album 2Pace Gallery NY 2015 ISBN 9781935410737 Acqn 25122Hb 19x25cm 24pp 700col ills £26.50

Samaras continues his exploration of manipulated images and identity with 700 digitally alteredimages. Comprised mostly of self-portraits, the photographs reflect the artist’s unrelenting self-inquiry. Among the recent self-portraits, Samaras has interspersed personal family photographswith childhood images of himself, transforming the project into a personal archive and abiographical inquiry.The manipulations of the photographs refer back to the rainbow-tinged Auto-Polaroids Samarasbegan in the 1960s and his Photo-Transformations of the 1970s. Using a range of techniquesfrom filters to mirroring and doubling, Samaras’s manipulations form visual metaphors for thepsychological probing and self-investigation that appears throughout the artist’s oeuvre. Thefilters and changes that characterize this massive body of images also refer to his proto-Photoshop works of the 1980s and digital videos in the 2000s, constituting something of anarchive of previous techniques.



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Robert Irwin – CacophonousPace Gallery NY 2015 ISBN 9781935410720 Acqn 25123Pb 30x23cm 44pp 14col ills £31

Since the 1960s, Irwin has emphasized experience as an extension of the perceptual. Thepioneer of the Light and Space movement in Southern California, Irwin’s work draws focus toambient environmental conditions, making them palpable by heightening the viewer’s awarenessin the context of the work.For his exhibition at Pace, he has produced eight works that advance his use of fluorescent light,a material he first used in the 1970s. Irwin installs rows of columnar lights, coating the differenttubes with coloured gels that alter the transmission of light. Other tubes remain unlit taking some

advantage of the reflected light. The walls, as well as the contiguous elements that constitute thepiece, are perceived as a whole.



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Thomas NozkowskiPace Gallery NY 2015 ISBN 9781935410713 Acqn 25124Pb 29x23cm 76pp 61col ills £35

Since the 1970s Nozkowski has produced abstract paintings and drawings inspired by events andplaces he has experienced firsthand. His paintings are the result of an extensive series ofdecisions in which he experiments with a form, colour, or gesture, and then reworks it repeatedlyover subsequent days, weeks or even years. His compositions reveal vivid organic shapes,gradations of colour, exchanges between translucency and opaqueness, and explorations of thefigure/ground relationship.Nozkowski produces many of his oil on linen on panel and oil on paper works simultaneously.These two bodies of work provide insight into the artist’s process as he charts various possibilities

for forms, colours, or patterns that might initiate in a linen on panel work and be reinterpreted ordigress into something else on paper.



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James Siena - New SculpturesPace Gallery NY 2015 ISBN 9781935410706 Acqn 25125Pb 22x29cm 62pp 50col ills £31

The exhibition features three bodies of work that expand the formal language of his painting intosculpture, marking the culmination of a decades-long development of three-dimensional work.



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Mao YanPace Gallery NY 2015 ISBN 9781935410690 Acqn 25126Pb 22x30cm 46pp 18col ills £21.95

Mao Yan contends with the history of portraiture in his work, interpreting figures and facesthrough a subjective language steeped in the technical formalism he developed while studying inBeijing in the late 1980s and early 1990s. Mao Yan’s paintings exhibit tropes of portraiture suchas the seated nude and oval frames, but cede deliberate representation to style and mood.

Aqueous blue, green, and grey tones swirl around, coalescing into smoky figures defined by

gestural brushwork. He empties his portrait subjects of interiority and identity, divorcing them fromany background or context and allowing paint to take precedence. Mao Yan paints not torepresent but to explore and capture the relationship between painting’s spiritual and technicaldimensions.Painting at different sizes, Mao Yan creates distinct effects. Three nude portraits feature fullfigures looming over the viewer on their more than ten-feet-tall canvases. More small scaledworks show only a head or a bust and allow for a more intimate exchange between the paintingand viewer.



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Isamu Noguchi – VariationsPace Gallery NY 2015 ISBN 9781935410683 Acqn 25442Pb 21x26cm 114pp 61col ills £40

Isamu Noguchi’s work over his seven-decade practice varied from stone and plywood sculptureto furniture and paper lanterns. He approached all of his work through a sculptural lens, believingsculpture to be relevant to the principles of design and public space. Variations highlights the rolecollaboration played in Noguchi’s expansive practice. Works such as Octetra, a painted cement

sculpture, display a lyrical, hard-edged geometry that reveal the influence Noguchi’s friendshipwith Buckminster Fuller had on his practice. In addition to working for Knoll and Herman Miller,Noguchi also designed sets for choreographers and enjoyed a particularly fruitful relationship withMartha Graham over many decades.Working in Brancusi’s Paris studio in the late 1920s was a profoundly influential experience forNoguchi. A selection of his Paris Abstraction gouaches made at that time demonstrate his earlyunderstanding of space and form that can be reflected in his sleek and roughhewn stone works,biomorphic plywood sculptures and iconic pieces such as his glass and wood coffee table.



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Pace Gallery NY 2015