Color and Form Explored in Parallel Exhibitions of Albers, Judd, and Oursler in New York
In early 2007, New York City hosted two exhibitions that examined the interplay between color and form. From January 26 to February 24, the Pace Wildenstein Gallery featured 'Josef Albers/Donald Judd: Form and Color,' which presented Albers' oil-on-masonite paintings alongside Judd's creations in brass and plywood. A significant pairing was Albers' 'Homage to the Square: Soft Sign' (1957) with Judd's 'Untitled' (1991). Concurrently, at Lehmann Maupin, Tony Oursler's exhibition from February 17 to March 24 showcased monochromatic aluminum sculptures equipped with DVD players that displayed transforming images. Both shows explored chromatic morphogenesis, positing color as a spatial organizing principle. Albers' pieces demonstrated intricate geometry, while Judd's work emphasized 'uncanny materiality.'
Key facts
- Josef Albers/Donald Judd: Form and Color ran from January 26 to February 24, 2007 at Pace Wildenstein Gallery
- Tony Oursler's exhibition at Lehmann Maupin ran from February 17 to March 24, 2007
- Both exhibitions were in New York City
- The Albers-Judd exhibition paired oil-on-masonite paintings with brass, Douglas fir plywood, and anodized aluminum objects
- Oursler's works featured laser-cut aluminum shapes with embedded DVD players and LCD screens
- Albers' variants included 'Study for an Adobe' (1949) and 'Adobe Yellow Front' (1959)
- Judd's works included Cor-ten steel rectangles with black plexiglass and anodized aluminum boxes
- Both exhibitions explored chromatic morphogenesis—color transformation through form
Entities
Artists
- Josef Albers
- Donald Judd
- Tony Oursler
- Robert Smithson
- Henri Matisse
Institutions
- Pace Wildenstein Gallery
- Lehmann Maupin
- artcritical
Locations
- New York City
- United States
- 32 E. 57 Street
- 540 West 26th Street