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Email PageJoseph Marioni 2006
April 27, 2006- June 30, 2006
Joseph Marioni
Peter Blum Gallery
526 W 29th St Joseph Marioni Painting (2006) |
INAUGURAL EXHIBITION AT PETER BLUM CHELSEA The inaugural exhibition, Paintings by Joseph Marioni, features five recent large-scale paintings, the largest of which is 10’ x 11’. The exhibition runs through July 1, 2006.
In these new works, as in the past 35 years, Marioni explores the potential of color via the medium of painting. In Marioni’s words, ‘the essence of painting is the articulation of color, because color is what distinguishes painting as painting, it doesn’t translate into the other senses, its identity is unique.’ Marioni applies successive layers of transparent and translucent acrylic paint to his vertical, slightly slanted, canvases, allowing each layer’s downward flow. Sometimes he manipulates this flow (by pushing the paint up) and changes the direction of the paint’s gravitational pull. This downward flow of the top layer and the upward push from the lower layers create a powerful tension; the paintings seem to be in internal movement.
Each of the paintings occupies a unique sense of space. Every particular hue invokes a different emotional resonance or reverberation. While Marioni’s paintings often comprise a wide spectrum of colors, the viewer experiences them as unified tonal experience. Marioni thinks of color as subject in itself.
Marioni has been widely exhibited nationally and internationally. His museum exhibitions include the Kunsthalle Baden-Baden, Germany (1995); the Kunstmuseum St. Gallen, Switzerland (1996); the Secession Vienna, Austria (1996); a mid-career retrospective (Paintings 1970-1998 A Survey) at Rose Art Museum at Brandeis University; the University Art Museum/ The University of Queensland, Brisbane, Australia (2000-2001); and the Amarillo Museum of Art, Amarillo, Texas (2003).
"In all his works of the past decades we find the same downward flow, not only within the painted fields but also at their limits, toward the edges of the canvas, particularly the bottom and the sides, where drips are allowed to form, lower layers are permitted to show through, and an impersonal but exquisite touch makes itself felt (the effect is not unlike that in certain Chinese and Japanese ceramics). Another feature of his paintings it that the rectangular canvases are ever so slightly narrowed toward the bottom, to match the tendency of the downward-flowing paint to draw in from the sides; in the same spirit, the bottoms of the stretchers are rounded as to avoid a build-up of paint along the lower edge of the canvas. The result of this highly refined interplay between the physicality of the support and the materiality of the pigment is double: it gives rise to a sense of seamlessness, of aesthetic harmony, that, again, is almost Eastern in its affective resonance; at the same time, the interplay compels a recognition of the separateness of the elements or, say, of the composite nature of the painting as a whole."
- Michael Fried
Reviews of Joseph Marioni 2006
| The Brooklyn Rail June 1, 2006 | Michael Brennan | "...However, it took the New York art scene a long time to take notice—until it was unavoidable really. As soon as it appeared that the renowned critic Michael Fried had apparently stepped out of retirement (at least from contemporary art) in order to give Marioni the nod, how could the art world no longer take notice?..." |
Books and DVDs related to artists in this show
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Peter Blum Gallery was last updated: 2008-11-22
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