LOUDER THAN BOMBS – The resonance of reductive art in our world, curated by Douglas Witmer
January 10 – February 24, 2018
The Curator Gallery
520 West 23rd Street
New York, NY
Steven Alexander (Pennsylvania), Mary Bucci McCoy (Massachusetts), Michael Brennan (New York City), Lucas Kelly (Pennsylvania), Emma Langridge (Melbourne, Australia), Linn Meyers (Washington, DC), Marion Piper (High Buckinghamshire, UK), Jon Poblador (Guangzhou, China), Tim Schwartz (Pennsylvania), Michael Voss (New York City)
Curated by Douglas Witmer
The Curator Gallery is pleased to present “Louder Than Bombs,” an exhibition curated by Philadelphia-based artist Douglas Witmer, bringing together the work of ten accomplished reductive abstract artists from around the globe.
Reductive art is often incorrectly described (and sometimes dismissed) as being “minimalist.” But whereas detached attitudes of late 20th Century minimalism de-emphasized the personal, today’s reductive abstract artist harnesses pared-back visual approaches to achieve a maximally focused and deeply personal expression.
In his curatorial statement, Douglas Witmer addresses this kind of work in light of the current state of our world. He suggests through their disciplined artistic practices, creating work that is beautifully clear and matter-of-fact, reductive artists offer a kind of generous invitation, an alternative, an “other-ness” of experience in the prevailing culture. And for the viewer, a fundamental process of transformation may begin by simply recognizing and engaging a basic sensation of being alive.
Steven Alexander, Marion Piper, and Jon Poblador create exquisitely calibrated compositions of color and geometry. Lucas Kelly organically rounds every edge and bends every plane in his colorful sculpture and wall reliefs. The imagery of the work of Linn Meyers and Emma Langridge, formed from very basic and repetitive drawn and scored lines, unfolds in a way that obscures the rigid systematic nature of their process. Mary Bucci McCoy, Michael Brennan, Tim Schwartz and Michael Voss all engage the surfaces of their works with a variety of economic painting gestures. Bucci McCoy and Brennan often establish significant overall “presences.” Schwartz and Voss reveal the basic mechanics of visual thinking and feeling via paint, brush, and canvas.