Sol LeWitt
SOL LEWITT
Wall Drawing 380F, 1984
India ink, color ink wash
CLAIRE ZEISLER
Unknown, mid 1980's
Hemp and thread over metal armature
47 x 4.5 x 3 inches
JENE HIGHSTEIN
Four-Sided Tower, 2001
Bone-black pigment and graphite on paper
36 x 23.25 inches
SOL LEWITT
Wavy Brushstrokes, 1995
Gouache on paper
60 1/4 x 60 1/4 inches, paper
67 x 67 inches, framed
GÜNTER UMBERG
Untitled, 1990
Pigment damar on wood
25 x 22 inches
DONALD JUDD
Untitled, 1978
Graphite on paper
24.25 x 21.75 x 1.75 inches
FRED SANDBACK
Untitled, 1990
Graphite on paper
14 x 8.5 inches, paper
25.5 x 19.5 inches, framed
GIOVANNI ANSELMO
Verso Oltremare, 1984
Stone, wire, ultramarine paint
114 x 51 inches
EDDA RENOUF
Autumn Sound III, 1978
Acrylic on linen
59 x 59 inches
RICHARD TUTTLE
There's No Reason a Good Man is Hard to Find III, 1988
Chicken wire, wire, wood, plaster, fabric, spray paint, plastic bucket and enamel
53 x 45 x 30 inches
RICHARD TUTTLE
Two With Any To, #5, 1999
Acrylic on fir plywood
11 x 11 x 1 3/4 inches
RICHARD TUTTLE
Two With Any To, #6, 1999
Acrylic on fir plywood
11 x 11 x 1 3/4 inches
RICHARD TUTTLE
White Sails, 1999-2000
Acrylic and pencil on fir plywood
11 x 11 x 1.5 inches
MARTIN PURYEAR
Dark Loop, 1982
Woodcut on ivory Japanese paper
20 x 27 inches
Edition 31 of 35
SYLVIA PLIMACK MANGOLD
5PM Diptych Spring, 1978
Acrylic and masking tape on sketchbook paper
11 x 14 inches, paper
16.25 x 35.75 inches, framed
Not Just a Pretty Picture is Rhona Hoffman Gallery's final exhibition in their West Town space opening March 14th. This group show includes drawings, assemblage, sculpture, prints, and paintings by established artists Giovanni Anselmo, Donald Judd, Sol LeWitt, Sylvia Mangold, Martin Puryear, Edda Renouf, Richard Tuttle, Gunter Umberg, and Claire Zeisler. This exhibition displays Gallerist Rhona Hoffman's depth as a curator in its appreciation for the artist's exploration of materiality, process, concept, and inquiry into the human condition.
The artists manifest their investigations into philosophical states of being and formal queries in their respective practices. They engage, reveal, and offer experiences of existential dualities: simplicity and complexity; visible and invisible; humble and divine. Ranging from Anselmo's Verso Oltremare (Towards Overseas), a 500lb esoteric sculpture made of Italian piedmont granite, wire, and aquamarine paint to Tuttle's quizzical lure to gaze upon the ordinary with wonder. These works engage both the intellect and intuition with weighty integrity, beauty, and ephemeral calm.
