![]() This famous illuminated intersection (and later, transient urban space) would go on to serve as a key source of inspiration for her pathbreaking embrace of industrial processes and found commercial materials, most recognizably neon. In particular, she was profoundly moved by her first encounter with Times Square. When the Greek-born artist Chryssa moved to New York City in the late 1950s, she was immediately struck by the commercial landscape of her newly adopted home. Comninos Foundation, and additional support by Katherine Embiricos, Christos Papazis, and those who wish to remain anonymous. Public programs are made possible by support from Consulate General of Greece in New York.Īll exhibitions at Dia are made possible by the Economou Exhibition Fund. The publication is made possible by generous support from the Anthony E. ![]() of Houston, and additional support by Kelley and Christopher Bass, James L. Significant support by the Brown Foundation, Inc. The Dia presentation is made possible by major support from Irene Panagopoulos and Stavros Niarchos Foundation (SNF). The exhibition is cocurated by Megan Holly Witko, External Curator, Dia Art Foundation, and Michelle White, Senior Curator, the Menil Collection, Houston.Ĭhryssa & New York is made possible by lead support from the Henry Luce Foundation. The newly restored The Gates to Times Square (1964–66) is displayed alongside works detailing Chryssa’s processes in realizing that monumental sculpture, her transitional pieces combining metal and neon, as well as examples of Studies for the Gates (1966–67).ĭia and the Menil’s exhibition is accompanied by the first major publication about Chryssa in more than thirty years.Ĭhryssa & New York is co-organized by Dia Art Foundation and the Menil Collection, Houston, in collaboration with Alphawood Foundation at Wrightwood 659, Chicago. This exhibition focuses on works from these decades through to the early 1970s, bringing together Chryssa’s deeply formal concerns and critical interest in exploring the United States following World War II.Ĭhryssa & New York presents the full breadth of the artist’s dynamic oeuvre, including early works such as the enigmatic Cycladic Books series (1954–57) as well as numerous reliefs in plaster and metal that deftly capture the phenomenon of passing natural light. Pathbreaking in its use of signage, text, and neon, her vastly underrecognized body of work bridges Pop, Conceptual, and Minimalist ideas of art making. The exhibition will premiere at Dia Chelsea, New York, in March 2023 and will open at the Menil Collection, Houston, in September 2023 and at Wrightwood 659, Chicago, in May 2024.Ī leading figure of the New York art world in the 1950s and ’60s, Chryssa developed an innovative approach to activating sculptural surfaces through subtle manipulations of light and shadow. This presentation, in one of Dia Beacon’s large central galleries, follows important restoration work on the series and also includes additional work by the artist.Co-organized by Dia Art Foundation and the Menil Collection, Chryssa & New York is the first comprehensive survey of works by Greek-born artist Chryssa (1933–2013) to take place in North America since 1982. Shown only once before in Cologne, West Germany, in 1981, the series then entered Dia’s collection in 1982 and has never before been exhibited in the United States. Eschewing familiar geometric shapes and a sequential or formulaic approach to color, Knoebel instead chooses to use complex forms and specific-but-unconventional colors. The ten-part series Mennigebilder (1976) features some of his earliest production in this vein, pairing abstract form and utilitarian use of lead pigment. In the mid-1970s, Knoebel began working with abstract shapes layered with a type of paint typically used for industrial anticorrosion purposes. In turn, each installation of his work is responsive to its surroundings. Rejecting the use of metaphor and allusion in art, Knoebel focuses on a pragmatic investigation of the formal properties and protocols of the exhibition space, as well as structures for the installation and viewing of his work. Focused on eliciting an abstract, generic condition in art, Knoebel reduces his work to explorations of form, material, surface, and space. Imi Knoebel’s work of the 1960s and 1970s grapples with questions of presentation and installation, as well as a preoccupation with form.
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