Gabriele Evertz

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Artist VIPs 2012:Gabriele Evertz

Artist VIPs 2012: Gabriele Evertz | Long Island Pulse Magazine by Nada Marjanovich

To try to "explain" gabriele's art would be futile. you have to experience it, the closer the better. It's like the calm you feel after being in a loud place and you get in your quiet car and it's just a hum around you. It makes sense she calls her paintings her partners. She is interested in the way we see and the way we learn by seeing, comparing and contrasting images, ideas, colors. vertical stripes? Yes, just like a line of people at a grocery store, gabriele sees the stripes as erect humans. buildings. trees. And as you look at them, as you engage, you see things shifting, but she didn't paint shifts.

The content of my work is color and i'm using geometric shapes because i want the viewer to know what they're looking at. And then a minute later it changes and pulsates—and that's really life. It's always moving.

People think geometry is very static, but it isn't. it's moving all the time. I'm keeping the same color sequence but changing the background. So as you engage in it, it changes. The colors are the actors. These are really vessels of contemplation.

After a while you start to realize there's a center and an organization to it. Painting has to be a certain scale. When it's small, you slip through it, like a window. I wish i could work even larger. Color really wants to have a presence. And the larger a work is, the more effective the color interaction can be.

Change the color by one step and it implies a line. but i haven't actually painted the line. i'm interested in showing a situation that is split, because that's the way the world is. we desire harmony, but i really had a need to express that things are a little off.

I'm not expecting anybody to 'get it,' just look at it. Mine is expressive, but not in a way that i draw attention to myself. A painting, for me, is there to be looked at.

The choice in color is a very important thing. It's based on the 12 colors of the color wheel. That's the spectrum. and they are the most intense. And there are partners (red and green, for instance).

I leave it up for interpretation. You see what you know. This is the motion parallax—you see differently as you move your head.

The contrasting colors pulsate and come forward into your space. It embraces you without the viewer the painting is dead, it's in sleep mode. It really requires a viewer to activate the whole experience.

And It does. even if you sit with your back to her 17-foot panel, you'll hear it. It will creep in around your whole sensory being, gently throbbing, pulsating, blowing at the hair on the back of your neck.

Geometry of Color

The Basil H. Alkazzi Award for Excellence in Painting

We are delighted to announce that gallery artist Gabriele Evertz has received The Basil H. Alkazzi Award for Excellence in Painting from the New York Foundation for the Arts (NYFA). One of two recipients this year, Ms. Evertz was personally selected by Mr. Alkazzi from a pool of 1,500 applicants. She will receive a cash award of $20,000.
"We live in a fast-moving culture that grows increasingly more abstract, away from the physical touch, away from the physical ground of being - away from the act of creation by hand," said Alkazzi regarding the creation of the award, which was presented for the first time in 2010. "I want in my own way, to encourage the glorious expressions of pencil, brush, and paint, and to nurture the kind of artist and the kind of art that I like and respect."
"NYFA is honored that Basil Alkazzi has asked us to oversee this important award, which will have a significant impact on the recipients. It is incredibly moving to see an artist so dedicated to giving back to his community, " said NYFA Executive Director Michael L. Royce. "To be able to award $20,000 to each of these extraordinary painters is a joy and we are so grateful to Basil for making it possible."
Ms. Evertz noted, "I received the news of this honor in a letter from Mr. Alkazzi in which he expressed the hope that I 'will also reach out towards other gifted artists.' Indeed, whenever possible, it has been my pleasure to curate shows around the themes of color, light, and perception and I intend to continue to present relatively unknown painters who have devoted their life's work to this particular aspect of painting. This award will also enable me to do the obvious: purchase materials to embark on a major body of work that has preoccupied me. Further, I am preparing for two solo shows this year; one in Riverhead, NY and one in Santa Fe, NM, and the funding will enable me to prepare a publication. Finally, I can now begin to realize the long-term project of documenting and archiving my own work, something every artist ought to do but is not often in the position to do. It is therefore with the greatest joy and humility that I am accepting this award. I am profoundly grateful to Mr. Alkazzi and the New York Foundation for the Arts for this honor."
About Basil H. Alkazzi
The British artist, Basil H. Alkazzi, is a prolific and, in his own words, a "compulsive" painter. His distinguished career as an artist spans almost 50 years. Six monographs of work have been published, the most recent being Resonant Echoes - The Art of Basil Alkazzi by Dennis Wepman in 2007. His work is held in the public collections of museums worldwide including the Metropolitan Museum of Art in New York, the Hirshhorn Museum - Smithsonian Institute in Washington, the Nelson Atkins Museum of Art in Kansas City, Missouri, the Santa Barbara Museum in California, The Tel-Aviv Museum of Art in Israel, The National Council in Kuwait, and Centrum Sztuki in Warsaw, Poland. In addition to being a gifted painter, Mr. Basil Alkazzi is also a generous philanthropist. In 1986, he established The Basil H. Alkazzi Foundation Awards, which are presented annually at the Royal College of Art in London. A cosmopolitan, he has travelled widely, and he has lived for long periods of time in London, Athens, and New York. He currently resides in Monaco.
For additional information about Gabriele Evertz, please contact the gallery.
SUPPORT
MINUS SPACE's programming is made possible by the generous support of The Golden Rule Foundation, as well as individuals. We thank you!
ABOUT MINUS SPACE
MINUS SPACE is a platform for reductive art on the international level. Learn more.
For further information, please contact:
Matthew Deleget & Rossana Martínez
MINUS SPACE
347.525.4628
info@minusspace.com
Skype: minusspace
www.minusspace.com
info@minusspace.com

ParisCONCRET

MINUS SPACE: Mark Dagley, Gabriele Evertz, Gilbert Hsiao

Sideshow

GABRIELE EVERTZ: RAPTURE

GABRIELE EVERTZ: RAPTURE

November 5 - December 17, 2011
Opening: Friday, November 4, 2011, 6-8pm

MINUS SPACE (new location)
111 Front Street, Suite 226, Brooklyn, NY 11201
DUMBO | Between Washington + Adams
A/C to High Street | F to York Street
Hours: Wednesday-Saturday 12-6pm + by appointment

Gabriele Evertz in her studio
Image courtesy of Peter Canale & Stocan Films


November 5 – December 17, 2011
Opening: Friday, November 4, 2011, 6-8pm
MINUS SPACE is delighted to announce the exhibition Gabriele Evertz: Rapture. This is the Brooklyn-based color painter's first solo exhibition with the gallery and it will feature a suite of new acrylic on canvas paintings conceived around the color gray.

Gabriele Evertz approaches painting as a humanist and color as a romantic. Evertz, who moved from Berlin to NYC at the age of 19, sees her work as bridging two opposing aesthetic traditions: a philosophical Northern European and a pragmatic American approach to painting. In contrast to other color painters who employ a theoretical or programmatic approach to color, she believes "color is a living thing, which gives us access to abstract ideas and concepts".

Over the past two decades, Evertz has developed and continues to refine a purely experiential, highly saturated palette involving twelve colors. For her, the history of color organization became a tool that informs her systematic color structures. She also often uses black, white, and gray in her work, but prefers not to call them "neutrals", which she feels is "inadequate to describe the experience of them". Additionally, she views complementary colors within her system, such as blue and orange, not as antagonistic, but rather as "true chromatic partners".

In recent years, Evertz has paid particular attention to the color gray, which she feels has been historically overlooked. "We need to refresh our eyes to it", she states, "words fall short to describe it". In her paintings on view at the gallery, gray is juxtaposed against subtle variations on the three primary colors (red, yellow, and blue), as well as part or all of her twelve-color system.

With a background in both painting and architecture, Evertz assigns structure to color in her work in the form of vertical stripes. The stripes span the entire height of her paintings from top to bottom, and commonly appear in varying widths as well, often within the same painting. She continually employs diagonal shifts placed between repeating sets of vertical lines, which she describes as "the origin of action in her work". The result is an exuberant, ever-shifting color experience that elicits a sense of time in her paintings.

Throughout her career, Evertz's investigation of color has only become increasingly more experimental, impassioned, and optimistic, emphasizing research over result. Summarizing the scope of her practice, she very concisely states, "in the absence of truth, there is art".


Gabriele Evertz (b. 1945 Berlin, Germany) has exhibited her work in solo and group exhibitions internationally, including in Australia, Germany, Italy, and New Zealand. Her recent museum exhibitions include P.S.1 Contemporary Art Center/MoMA (NYC), Heckscher Museum (Huntington, NY), Hillwood Art Museum (Brookville, NY), Columbus Museum (Columbus, OH), Ulrich Museum (Wichita, KS), and Karl Ernst Osthaus Museum (Hagen, Germany).

Her work is included in many public collections worldwide, including The British Museum, Brooklyn Museum, Columbus Museum of Art, Harvard University Art Museum, Hunterdon Museum of Art, Karl Ernst Osthaus Museum, Metropolitan Museum of Art, Museum of Modern Art, New Jersey State Museum, Parrish Art Museum, Stiftung für Konstruktive und Konkrete Kunst Zurich, Ulrich Museum of Art, Wilhelm Mack Museum, and Whitney Museum of American Art, among others. Her work has been recently reviewed in publications, such as Artcritical, NY Arts Magazine, ArtSlant, and The Village Voice.

In addition to her painting practice, Evertz is an Associate Professor in the Department of Art at Hunter College, NYC. She is a key protagonist in the renowned Hunter Color School, alongside other color painters, including Vincent Longo, Doug Ohlson, Robert Swain, and Sanford Wurmfeld. Over the past ten years, she has also curated several critically-acclaimed artist retrospectives and surveys of abstract painting at Hunter College, including Visual Sensations: Robert Swain Paintings, 1967-2010; Presentational Painting III; Seeing Red: An International Exhibition of Nonobjective Painting (co-curated with Michael Fehr); Set in Steel: The Sculpture of Antoni Milkowski; and Mac Wells: Light into Being (co-curated with Robert Swain).

Evertz holds an MFA in Painting and a BA in Art History from Hunter College, New York, NY.

SUPPORT
We would like to thank Andrew Wojtas and Peter Canale / Stocan Films for their generous assistance with the exhibition. MINUS SPACE's programming is made possible by the generous support of The Golden Rule Foundation. We thank you!

MINUS SPACE (new location)
111 Front Street, Suite 226, Brooklyn, NY 11201
DUMBO | Between Washington + Adams
Hours: Wednesday-Saturday 12-6pm and by appointment


American Abstraction Artists: Abstraction∞

American Abstract Artists

For Immediate Release:

American Abstract Artists presents

ABSTRACTION∞

Curated by Janet Kurnatowski

November 3 - 27, 2011

Opening reception: Thursday, November 10th 6-9pm

The Icebox

Cranes_Art

1400 N. American Street • Philadelphia PA 19122
ph 215.232.3203 • f 215.232.3616 • www.cranearts.com www.americanabstractartists.org

Press contact: Janet Kurnatowski, janetkurnatowski@gmail.com
Exhibition Hours: Wed - Sun 12-6pm

Pointing a Telescope at the Sun at MINUS SPACE


Best in Show: "Pointing a Telescope at the Sun" at MINUS SPACE
by Robert Shuster

Gabriele Evertz, Untitled, 2011
Acrylic on canvas over panel, 18 x 18 inches

A visit to Minus Space -- a tiny, remote haven for Minimalism -- is an experience, appropriately enough, of progressive reduction. Make your way down a bleak industrial strip, open an unmarked steel door, and stand in a blank white hallway of identical doors. Behind one, the closet-sized gallery appears as a chamber for meditation. In this show, five rigorously ordered paintings -- all by venerable color theorists with Hunter College associations -- hang like mandalas.

Grids dominate. In Four Time, Vincent Longo has crisscrossed parallel paths of peach and pale green (a lovely palette) to make a maplike lattice that clearly honors Mondrian. From the late Doug Ohlson (to whom the show is dedicated), vertical ribbons of contrasting colors fool the eye into seeing different lengths, subtly animating the work. Likewise, Gabriele Evertz nods toward Op Art by having a square's narrow stripes suddenly change from grayscale to a candy fluorescence along a diagonal, playing with your sense of dimension. Sanford Wurmfeld presents another finely structured chart that maps small shifts in hue, value, and saturation (this one like an excerpt from his massive Cyclorama). And Robert Swain, setting aside his trademark stacks of colored blocks, offers a swarm of red and purple strokes that expand and dance across the canvas like an impressionistic vision of birds -- so uncharacteristically expressive it almost seems out of place here.

In the fall, the gallery will move to DUMBO for bigger, and more accessible, digs -- leaving behind, alas, this charming cube of Zen.

The exhibition continues through September 17, 2011. Note: The gallery will be closed Friday & Saturday, September 2-3 for the Labor Day holiday.

Gallery Hours: Fridays & Saturdays, 12-6pm, and by appointment.

A big thanks to writer Robert Shuster for his thoughtful review.



MINUS SPACE
98 4th Street, Room 204 (Buzzer #28), Brooklyn, NY 11231 USA
between Hoyt + Bond | Carroll Gardens / Gowanus
347.525.4628
info@minusspace.com
Skype: minusspace
www.minusspace.com

 

AMERICAN ABSTRACT ARTISTS At OK Harris

To celebrate its 75th anniversary, American Abstract Artists, the venerable artists' organization, is presenting a marvelous exhibition at OK Harris through July 15, 2011. This sprawling but beautifully coherent show features the work of 77 member artists, spanning several generations and comprising a broad range of approaches to abstraction. The roster includes a long list of well known painters including Dorothea Rockburne, Thornton Willis, Merrill Wagner, Will Barnet, and many more -- all showing significant works. There is also a nice group of excellent work by lesser known artists. One thing that distinguishes this exhibition from some previous AAA shows is the scale of the work, made possible by the size of the rambling galleries of OK Harris. Rather than diminutive samples shown salon style, we are treated to full scale paintings, shown with enough space around them to set off each piece individually. It is a museum worthy presentation that this work truly deserves. Moving around the galleries, spending time with each work, one is inevitably taken by the variety and depth of the ongoing investigations. One can sense the 75 year tradition, a seasoning and a blooming -- a way of seeing, thinking, living that in many ways is no less radical now than in 1936.


ok_harris painting

Blue: Contrasts & Assimilations
Acrylic on canvas over wood panel
24 x 24 inches / 60 x 60cm
2009

EXHIBITION: MAY 21 – JULY 15, 2011

American Abstract Artists
75th Anniversary

curated by OK Harris Works of Art


Open Reception:
Wednesday, May 25th, 5:30-7:30 pm

  Alice  Adams
Richard Anuszkiewicz
Martin Ball
Will Barnet
Siri Berg
Emily Berger
Susan Bonfils
Sharon  Brant
Henry Brown
Kenneth Bushnell
James O. Clark
Mark Dagley
Tom Doyle
Tom Evans
Gabriele Evertz
Vito Giacalone
Heidi Gluck
John Goodyear
Gail Gregg
James Gross
Lynne HarlowMara Held
Daniel G. Hill
Charles Hinman
Gilbert Hsiao
Phillis Ideal

Julian Jackson
James Juszczyk
Cecily Kahn
Steve Karlik
Marthe Keller
Victor Kord
Irene Lawrence
Mon Levinson
Jane Logemann
Vincent Longo
David Mackenzie
Stephen Maine
Katinka Mann
Nancy Manter
Creighton Michael
Manfred Mohr
Judith Murray
Mary Obering
John Obuck
John Pai
John T. Phillips
Corey Postiglione
Lucio Pozzi
Richard Pugliese
Raquel Rabinovich
Leo Rabkin
 

David Reed
Dorothea Rockburne
Ce Roser
Irene Rousseau
David Row
James Seawright
Edward Shalala
Babe Shapiro
Louis Silverstein
Richard Stone
Peter Stroud
Robert Swain
Richard Timperio
Clover Vail
Vera Vasek
Don Voisine
Merrill Wagner
Joan Waltemath
Joan Webster Price
Stephen Westfall
Jeanne Wilkinson
Mark Williams
Thornton Willis
Kes Zapkus
Nola Zirin

For further information concerning this exhibition
please contact: OK Harris or American Abstract Artists

 

75th Anniversary • American Abstract Artists International

Eine Ausstellung der Galerie oqbo in Kooperation mit dem Deutschen Künstlerbund
14 May - 18 June 2011

75th Anniversary AAA Exhibition



 

Inaugural Long Island Biennial

Heckscher Museum of Art, Huntington, NY | http://www.heckscher.org/
31 July 31 - 26 September 2010

LI Biennial
The Heckscher Museum of Art Permalink


 

American Abstract Artists International

Museum of the Aragonese Castle of Otranto, Italy | http://www.americanabstractartists.org/
15-30 June 2010

AAA
American Abstract Artists Permalink


 

Gallery Chronicle: On Op Art

By James Panero | Click here to read full text.

The New Criterion, June 2009
The New Criterion Permalink


 

Hard edged in Brooklyn

By James Panero | Click here to read review text.

The New Criterion
The New Criterion Permalink


 

Escape from New York

Project Space/Spare Room, RMIT University, Melbourne, Australia | schoolofartgalleries.dsc.rmit.edu.au/EscapeFromNewYork
8 - 29 May 2009



 

MINUS SPACE

P.S.1 Contemporary Art Center / MoMA Contemporary Art, Long Island City, NY | ps1.org/MinusSpace
on view until 4 May 2009



 

Color Exchange: Berlin - New York

Metaphor Contemporary Art, 382 Atlantic Avenue, Brooklyn, NY | metaphorcontemporaryart.com
27 March - 26 April 2009

Metaphor Contemporary



 

Alternative Abstractions

Nina Freudenheim Gallery, Buffalo, NY
14 March - 21 April 2009

Gabriele Evertz
Motion Parallax (a-)chromatic Y


 

Color

SW Minnesota State University Art Museum
1 March - 15 April 2009



 

Color Exchange: Berlin - New York

Galerie Parterre, Danziger Straße 10 10405 Berlin
27 January 2009 - 1 March 2009

Galerie Parterre
Exhibition Invitation

Galerie Parterre, Berlin
Exhibition view, Galerie Parterre, Berlin, 2009

Galerie Parterre, Berlin
Exhibition view, Galerie Parterre, Berlin, 2009

Galerie Parterre, Berlin
Exhibition view, Galerie Parterre, Berlin, 2009

Galerie Parterre, Berlin
Exhibition view, Galerie Parterre, Berlin, 2009