member exhibitions
SANFORD WURMFELD: Corona Variations
February 14 through March 14, 2024
Artist Reception: Thursday, February 15, 2024 from 6:00 - 8:00 PM
David Richard Gallery, 508 West 26 ST, Suite 9F, Chelsea, New York City, US
https://mailchi.mp/71d133716c74/sanford-wurmfeld-debuts-corona-variations-new-compositions-and-palettes-in-newest-series-of-paintings-at-david-richard-gallery?e=bb37054d22
Ana Pais Oliveira
Exhibition "I was never able to build a house"
18 March - 25 May 2023
Galeria São Mamede
Rua Miguel Bombarda, 624
4150-379 Porto, Lisboa
https://www.saomamede.com/exposicao.php?id_exposicao=630
"(...) Over the years I have developed this fascination for the house as a primordial place and partner in the process of developing human relationships, also a formal and conceptual element of enormous richness and depth. All paintings want to be architecture for this very reason, not abandoning their being painting, mainly through an equal fascination for color and its transformative and provocative potential of the senses. (...)
(Excerpt from the exhibition text)
www.anapaisoliveira.info
www.academiadedancadeespinho.com
Pablo Manyé, Immersive Exhibition, 2022
Museu da Imagem e do Som do Ceará (MIS), Fortaleza, Brazil
The Museum of the Image and Sound shows an immersive exhibition of Pablo Manyé's artistic work and also the work of his Class "Light" (Aula-Luz in Portuguese) – a slightly different way of teaching colour that joins performance and experience in an encounter of Arts and Science.
The visitors are mostly children as well as undergraduate and postgraduate students. Until now, more than 4,500 people visited the exhibition.
A series of new immersive experiences creating different environments will follow, including natural and artistic elements to explain the scientific bases of the different aspects of light.
GOLD – Mining the Unconscious / Leitmedium ins Unbewusste
Barbara Diethelm - Heinrich Eichmann
Opening: 11 February 2022, 11AM-18PM
Helmhaus, Limmatquai 31, 8001 Zurich, Switzerland
Book presentation "Path of Gold": 24 February 2022, 6:30PM
Barbara Diethelm has used her know-how to develop almost alchemically a paint that comes very close to gold. Her oscillating paintings are "portals" to a spiritual world that perhaps only art can open up. https://www.stadt-zuerich.ch/kultu
Barbara Diethelm "Portals of Light"
Video gedreht anlässlich der Ausstellung "Gold – Barbara Diethelm, Heinrich Eichmann, knowbotiq”, Helmhaus Zürich, Frühling 2022
Film deutsch: https://fondation-lascaux.com/de/startseite/portals-of-light
Video filmed on the occasion of the exhibition "Gold – Barbara Diethelm, Heinrich Eichmann, knowbotiq” at Helmhaus Zürich, Museum of Contemporary Art, Spring 2022
Film Englisch: https://fondation-lascaux.com/en/startpage/jubilee-en3637
Jacqueline Carron: Psicolor, la passion des couleurs 14 October 2021 - 22 February 2022
The Maison Nationale des Artistes in Nogent-sur-Marne in France shows the exhibition "PSI COLOR Passion for Colours" of artworks of the doyenne of the Centre Français de la Couleur (French Colour Centre), who turned 101-years-old in December 2021. A related video is available on Youtube.
Giuseppe Rosini's modular sculptures at the Light Art Biennale in Mantua
26 September 2020 - 9 April 2021
The modular light sculptures by Florentine artist Giuseppe Rosini are architectural objects with carved textures on smooth translucent surfaces. The light effects are hauntingly beautiful. The artist explores this world of translucency, texture, and light, and links it to culture and history with ingenuity and craftsmanship.
www.instagram.com/giusepperosini/
Il messaggio dello scultore Giuseppe Rosini nella prospettiva della Scienza della Visione
Testo della Prof.ssa Lucia Ronchi Rositani
Sin dall'antichità le Arti Visive hanno creato immagini capaci di evocare particolari emozioni, comunemente riferite all'estetica ed all'armonia, specialmente quella cromatica, la cui portata è talmente vasta da attrarre un interesse multidisciplinare e generare un dibattito sul rapporto tra arte e scienza protrattosi per secoli, dibattito che ancora oggi, come dimostra una vastissima letteratura, continua coinvolgendo psicologi, psichiatri, storici dell'arte, matematici, artisti, etc., ed, in particolare gli studiosi del processo visivo. Mentre c'è chi tutt’ora è in cerca di "novità", possiamo tranquillamente constatare che da scoprire, nel senso tradizionale della parola, non c’è molto. Semmai occorre sottolineare da un lato come sul nostro processo visivo - ossia sul il processo attraverso cui l'immagine creata dall'artista, qualunque sia il medium, si forma sulla retina e viene poi codificata ed elaborata in una rappresentazione interna che i centri superiori, complessi meccanismi cerebrali, modulano e interpretano – pur avendo la neurofisiologia fatto passi da gigante, molto rimanga ancora da precisare, dall’altro come l'artista risulti sempre “vincente”, in quanto sin dall'antichità l'arte ha sempre preceduto la scienza. A quest’ultima infatti spetta il compito di classificare una certa opera, individuando che cosa hanno di particolare determinate immagini frutto di genialità creativa: anche un semplice dettaglio, cui magari non è ancora possibile connettere uno specifico meccanismo cerebrale, può infatti comportare una gigantesca conseguenza, ad esempio, nella gradevolezza. Venendo alla produzione scultorea di Giuseppe Rosini, la scrivente, in conseguenza della sua “deformazione professionale” si è domandata come questo scultore possa (se pur inconsciamente) aver catturato il segreto del fascino delle immagini naturali. Senza dubbio Rosini utilizza come ingrediente della gradevolezza una texture ("struttura superficiale fine”) duplice, ossia quella dovuta alle piccole non-omogeneità. spaziali della paraffina, che crea una variazione della brillanza dello sfondo e minimizza la monotonia, e quella creata con lo scalpello, periodica ma "discreta", che richiede uno sforzo dell'attenzione dell'osservatore variabile a seconda della distanza di osservazione, suscitando interesse in chi partecipa personalmente ed attivamente all'atto percettivo. Non è tutto. Dalle ricerche sui meccanismi visivi responsabili della percezione della texture, avviate in laboratorio solo a seguito dell’introduzione del computer, emerge come questa si possa descrivere con formule matematiche che tengono conto della sua struttura geometrica, mentre ancora non sono state individuate le formule che indichino in modo specifico quali siano le caratteristiche geometriche delle configurazioni che, catturate ed elaborate da meccanismi cerebrali, fungono da input per il tutt’oggi sconosciuto meccanismo della gradevolezza. Proprio tale meccanismo pare invece essere ben noto al geniale scalpello di Rosini, i cui intagli creano sulla superficie “opportune” distribuzioni spazio-temporali del mini-contrasto locale caratterizzate da mini-ampiezza, le quali, probabilmente, si sintonizzano in maniera ottimale proprio con le “caratteristiche di risposta” del meccanismo della gradevolezza.
Marcus Pericin and Florian Bachmann: Black Bodies, Installation
6–30 January 2022
Galerie Ahoi Luzern, Offspace, Furrengasse 11, 6004 Lucerne
The contours of deep black geometric bodies glow in the darkness. When the light goes on, we see coloured bodies. The installation impressively shows how the perception of black is intensified by a light-dark contrast, so that even bright colours appear deep black.
www.farblichtzentrum.ch
Marcus Pericin and Florian Bachmann: Colour-Light Haze
8–17 October 2021, Light Art Festival, Grindelwald, Switzerland
https://jungfrauregion.swiss/en/summer/planning-and-events/events/light-art-grindelwald/
Florian Bachmann and Marcus Pericin are active in teaching and further education across departments with the Colour-Light Centre at the Zurich University of the Arts (ZHdK) and participate in research and development projects. The focus is on questions of light, colour, space, atmosphere and perception in the fields of design, art, science and technology. They present their results in the form of light installations and experiential spaces in museums, galleries and public spaces.
www.farblichtzentrum.ch
Sanford Wurmfeld pictured with E-Cyclorama, 2007-2008. Installation view, Edinburgh College of Art. Photo: Antonia Reeve.
Encountering Color: Sanford Wurmfeld E-Cyclorama II (and Other Paintings)
18 September 2019 – 18 December 2019
Gallery Herron School of Art + Design, Indianapolis, Indiana, US
Berkshire, Reese, and Paul Galleries Eskenazi Hall
Sanford Wurmfeld, talk
Wednesday, 18 September 2019, 5:30 p.m.
Basile Auditorium Eskenazi Hall
https://herron.iupui.edu/news-events/stories/2019-09-04-fall-season.html
Sanford Wurmfeld, “II-12 (DN-BG/N-G) + B/1(R)” (2018), acrylic on canvas, 30 x 31 inches
Sanford Wurmfeld. Variations
2 March – 20 April 2019, Wednesday-Saturday, 11am-5pm + by appointment
Solo Exhibition
Minus Space, 16 Main Street, Suite A, Brooklyn, NY 11201 (Dumbo), US
www.minusspace.com
Hyperallergic Review
The Brooklyn Rail Review
Radiant Energy — Gabriele Evertz, Robert Swain, and Sanford Wurmfeld
2 February – 13 May 2018
The Visual Arts Center of New Jersey, 68 Elm Street, Summit, NJ 07901, US
Main and Robinson Strolling Galleries
www.artcenternj.org
Further information:
http://www.aicecd.org/index.php?article_id=147&clang=2
Ana Pais Oliveira. Look up, there is beauty
30 August – 6 October 2018
Second Solo Exhibition
Art Forum Ute Barth, Kartausstrasse 8, 8008 Zurich, Switzerland
artforumutebarth.com
https://artforumutebarth.com/kuenstler/o-ana-pais-oliviera/
Lokalkolorit: Farbe Architektur Raum
18 August 2018 – 23 September 2018
Forum Schlossplatz, Schlossplatz 4, 5000 Aarau, Switzerland
Exhibition jointly organized with Haus der Farbe Zurich
https://hausderfarbe.ch/de/institut/beratung/
Experience COLOUR
29 August 2018 – 14 October 2018
This exhibition is a remarkably beautiful, hands-on exhibition, inviting visitors of all ages and abilities to explore the fascinating science and art of colour through large scale installations, displays and experiments.
Glasshouse Arts Centre at the Ruskin Glass Centre, The Glasshouse, Wollaston Road, Amblecote, Stourbridge, West Midlands, DY8 4HF, UK
Loving always [colour] as usual
Hwei-Ian Chang Solo Exhibition
11 December 2017 – 10 January 2018
National Tsing Hua University (NTHU) Arts Center Gallery, Hsinchu, Taiwan
Markus Reisinger: Chromodynamics – Turquoise (Installation)
Special Exhibit Light and Shadow
19 June 2015 – 31 January 2016
UniGraz@Museum, Karl-Franzens-Universität Graz, Universitätsplatz 3/KG, 8010 Graz, Austria
2015 has been declared the "International Year of Light and Light-based Technologies" by the UN. In this context, the UniGraz@Museum is offering a comprehensive exhibition entitled "Light and Shadows". The wide range of topics spans from pine shavings to lasers, from the god Sun to coloured shadows, and from winter depression due to a lack of light to sleep disorders caused by light pollution.
FarbLichtNebel and Explosionen [Misty Colour-Light and Explosions]
Installation and Performance, Kulturnacht Winterthur, SWITZERLAND
A collaboration of Colour-Light-Center University of Arts (ZHdK) and Technorama Winterthur
12 September 2015: Gewerbemuseum open 10am–11pm
Space Installation, Kirchplatz, open 9–11pm
17 September 2015: Gewerbemuseum open 10am–8pm
Space Installation, Kirchplatz, open 8–11pm
http://www.kulturnachtwinterthur.ch/
Pilar BELMONTE: Stained Glass for the Rose Window of the Cathedral of Albacete, SPAIN
7 May - 2 June 2015
Exhibition at the Colegio de Arquitectos de Albacete 500 years since the construction of the Cathedral San Juan Bautista de Albacete
Closing Lecture: 2 June 2015, 7pm
Contemporary Stained Glass by Pilar Belmonte
PILAR BELMONTE: Color in Nature — A Critical Eye
18 June – 26 July 2013
Universidad Politécnica de Valencia
Escuela Técnica Superior de Ingenieros de Caminos Canales y Puerto de Valencia, Valencia, Spain
www.pilarbelmonte.com
SANFORD WURMFELD Color Visions 1966–2013
15 February–20 April 2013
Opening Reception: February 15, 6–8 PM
Hunter College, Times Square Gallery, 450 West 41st Street, New York, NY, USA
Gallery Hours: Tuesday–Saturday, 1–6pm
www.hunter.cuny.edu/art/galleries
Sanford Wurmfeld Color Visions 1966–2013 celebrates the work of Sanford Wurmfeld, the Phyllis and Joseph Caroff Professor of Fine Arts Emeritus and the Hunter College Art Department Chair from 1978-2006. Wurmfeld is an internationally known painter and a fixture in the New York art world. For decades he has created abstract paintings about color and its affects on human mood and visual perception. Drawing inspiration from Georges Seurat, Josef Albers, Claude Monet, Mark Rothko, and his mentors and colleagues from Hunter College, among others, Sanford Wurmfeld illustrates the psychological effects of color on large-scale canvases. He has pursued a near-scientific inquiry into the perceptual and experiential effects of color while remaining an intuitive painter. With over 60 paintings, sculptures, drawings, and films –many of which have never been exhibited– Sanford Wurmfeld Color Visions 1966–2013 presents the most comprehensive retrospective of his large-scale works from over his fifty-year career. The exhibition provides a unique opportunity to explore Wurmfeld’s groundbreaking examination of three-dimensional color as well as his legacy as a painter.
Curated by William C. Agee, Evelyn Kranes Kossak, Professor of Art History with assistance from the following graduate students: Rotem Linial, Bridget McCarthy, Thesesa Andrea Morrison, Joan Reuteshan, and Nicoline Strom-Jensen Organized by Susan Crile with Lisa Corinne Davis.
I-15 (V-Y/Full Sat), 1988, Acrylic on canvas, 57” x 113”
SANFORD WURMFELD November 9—December 22, 2012
Artist reception: Friday, November 16, 5:00-7:00 PM
David Richard Gallery Railyard Arts District 544 South Guadalupe Street, Santa Fe, NM 87501 p 505-983-9555 | f 505-983-1284
www.DavidRichardGallery.com
David Richard Gallery is pleased to present an exhibition of paintings from 1988 to 2011 by Sanford Wurmfeld, the gallery’s first solo exhibition for the New York-based artist.
Further information:
http://www.aicecd.org/index.php?article_id=147&clang=2
IMMERSED IN COLOR
Sanford Wurmfeld’s E-Cyclorama
Lecture: October 27, 2011 at 7:30 PM, rm. 109 A+A bldg.
More: http://www.aicecd.org/index.php?article_id=147&clang=2
La Boca. Emilia Rabuini's Research on Colours of a City District and Italian Immigration in Buenos Aires
Exhibition organized by Silvia Rizzo
The exhibition of Emilia Rabuini’s work held in Genoa at Galata Museo del Mare is entitled LA BOCA. IL COLORE DI UN QUARTIERE: IL CONTRIBUTO DELL’IMMIGRAZIONE ITALIANA A BUENOS AIRES. It was selected to represent the celebrations carried out in Genoa for the 200 years of the foundation of the Republic of Argentina and was judged among the most important events. The exhibition was curated by Silvia Rizzo, who had met Architect Emilia Rabuini at the AIC Conference in Stockholm. The show has been much praised by critics and the public alike. Argentinian Ambassador and General Consul Mr. Gustavo Moreno as well as Programme Coordinator of Bicentennial Celebrations Anna Karina Santini attended the opening ceremony. The conference LA NAVIGAZIONE DEL COLORE (The Navigation of Color) was organized in collaboration with Genoa University and dealt with the strong cultural relations between Genoa and Buenos Aires. The exhibition and its content will be further developed and debated in 2011 in collaboration with local schools and other cultural institutions.
More information:
http://www.aicecd.org/index.php?article_id=148&clang=2
LED – Licht und Farbe inszenieren
(LED - Staging Colour and Light)
The exhibition "LED - Staging Light and Colour" was developed and designed by the design researchers of the "LED-ColourLab" (ZHdK) in collaboration with the Gewerbemuseum Winterthur as well as Philips AG Lighting Schweiz, IGP Pulvertechnik AG, the Swiss Federal Commission for Technology and Innovation CTI, and kt.COLOR AG.
Ulrich Bachmann, 2009
Further Information:
http://www.aicecd.org/index.php?article_id=149&clang=2
Photo: Antonia Reeve
Sanford Wurmfeld
E-Cyclorama, 2007-2008, Installation view, Edinburgh College of Art
E-Cyclorama: Immersed in Color
including 43 Paintings from 1971-present
The Neuberger Museum SUNY Purchase, New York
May 31-July 19, 2009
Hours: Tuesday-Sunday 12-5
Neuberger Museum website
To describe E-Cyclorama as a painting by Sanford Wurmfeld on the inside of a huge cylinder is to miss the point. This massive panorama of color, viewed by stepping inside the cylinder, makes it possible to experience the power, dynamics and beauty of color. On the cylinder’s walls, color moves through the entire spectrum, but the transitions are so subtle that it is impossible to be sure where one color ends and the next begins. Color becomes intense, independent and dynamica sort of surround-sound painting. As the eye moves across the painted surface, the impact of the shifting color is enhanced by the changes of depth and distance, increasing the uncertainty of what is really being seen. The effect is hypnotic. The cyclorama is a twenty-first century version of the once popular nineteenth century panorama paintings which were inspired by the original concept invented by Robert Barker in Edinburgh in 1787. The “E” stands for elliptical, its oval shape inspired, according to the artist, by the oval plan found in Baroque churches. The effect is baroque, too, as the form exaggerates the optical illusions of the work. Wurmfeld spent a year painting E-Cyclorama. On close inspection, one can see why: the slight variations in tone were precisely measured and meticulously applied. Duncan Macmillan, Curator of the ECA exhibition, summer 2008.
More information on the website of Sanford Wurmfeld www.sanfordwurmfeld.com
Take a 360 degree walk through the E-Cyclorama by clicking on “Panorama”
SI LA ALMOHADA CONTARA
Una muestra entretenida con el sabor de dejarnos algo nuevo para disfrutar.
(IF THE PILLOW TOLD A STORY
An entertaining exhibition with the flavour of leaving us with something new to enjoy.)
A journey through the 1970s, 1980s, 1990s, to the present day, in the Western culture.
María Luisa Musso, 2009
Further Information:
http://www.aicecd.org/index.php?article_id=150&clang=2
Komm, wir gehen in den Wald!
(Let's go to the forest!)
Susan Collins, Bertolt Hering, Heilwig Jacob, Ralf Jurszo, Thomas Kabelitz, Stefan Prehn, Carsten Rabe und Sabina Simons
Westwerk e. V. Admiralitaetstrasse 74, 20459 Hamburg – GermanyEröffnung am Freitag, 17. April 2009 um 19 Uhr
Ausstellungsdauer: 18. bis 26. April 2009
Öffnungszeiten: Montag bis Freitag 15 bis19 Uhr
Samstag 12 bis16 Uhr, Sonntag 14 bis18 Uhr
„Wald“ ist nicht nur der Titel von Gerhard Richters neuester Buch-Veröffentlichung.
„Wald“ ist auch eine thematische Tendenz in der Kunst der Gegenwart.
Westwerk zeigt acht aktuelle Positionen zum Thema „Wald“:
Bertolt Hering beobachtet vor Ort mit direktem Farbvergleich und rekonstruiert danach natürliche Farbbestände in ihrer jährlichen Abfolge.
Forest is not only the title of Gerhard Richter's latest publication. Forest is also a thematic trend in contemporary art. Westwerk shows eight current positions on the theme of forest. Over the course of a year Bertolt Hering observes colours on site with direct colour comparison and reconstructs natural colour palettes.