Markus Linnenbrink by Miles McEnery Gallery

MARKUS LINNENBRINK

MARKUS LINNENBRINK WEREMEMBEREVERYONE

525 West 22nd Street New York NY 10011

511 West 22nd Street New York, NY 10011

520 West 21st Street New York NY 10011

TRUST FALL By Cat Kron

In a video taken in 2016, Markus Linnenbrink and an assistant are shown hanging from the side of the SLS Brickell Hotel in Miami, twelve stories off the ground. They are suspended on a cabled platform, the sort used by window washers to clean skyscrapers. But rather than cleaning fluid, they pour paint down the building—vibrant parallel bands of fluid that stream down concrete siding in surreal contrast to the ambient grays of the surrounding business towers and condos. Watching the pair methodically work their way down the hotel’s façade, one is reminded of the choreographer Trisha Brown’s seminal 1970 work Man Descending the Side of a Building, in which a harnessed dancer slowly “walks” down a building as if down a street that has been rotated 90 degrees, as pedestrians look up in awe. Like Brown, Linnenbrink utilizes gravity as a key element in his work, and, like her, he reminds us that all art forms rely on gravity’s force by making that pull visually explicit. Over the course of his thirty-year career, the German-born, Brooklyn-based artist’s paintings have taken form primarily via three distinct processes; Linnenbrink calls the resulting works “drips,” “drills,” and “reverses.” The SLS Brickell exists as one of the most monumental examples to date of his drip process, in which the artist pours cups of pigment suspended in premixed epoxies from the upper ledge of an armature and allows streams of bright paint to comingle as they trickle side by side down the support. As has been noted in previous writing on his work, Linnenbrink’s drips rely on a strikingly spare trio: the supports, the pigments, and the epoxy resin in which his pigments are suspended. To this, I would add gravity as a fourth item at play.

BIENVIENUDAAMYDISCO, 2016 at SLS Brickell Hotel and Residences, Miami, FL

But the scale of the SLS commission presented several new challenges. Among the greatest was the issue that no single stream of paint, no matter how vast its stores at the point from which it was poured, would make it all the way down to street level in a regular narrow stream. The artist solved this problem with the vertically mobile platform, using twenty to thirty squeeze bottles of a premixed hue to “reprime the pump” at 15-foot intervals, as well as a pretreatment of water sprayed over the entire side of the building, which reduced friction and additionally allowed streams to seep out horizontally like watercolor while simultaneously dripping toward the ground below. The process took on a rhythmic, durational aspect, and, as in previous wall works, passersby kept tabs on its progress. (While installing another site-specific drip wall for the Hague’s Center Court lobby in 2003, Linnenbrink recalled observers and staff giving him regular unsolicited critiques— skepticism one day, a conciliatory thumbs up a few days later.) This correlation with performance and its audience is fitting for an artist so interested in demonstrating how and why materials—the body included—operate in the physical world. “Painting is an action: moving paint from Point A to Point B,” he said in an interview. “I am interested in the very basics of what you do as a painter.”1

All of Linnenbrink’s paintings are notable for their material economy, for the way in which nothing is wasted. NOPRESENCENOHELLOIGOTAPLANNOWHERETOGO (2020), as are all the works mentioned here, is a large-scale striated-wall drip piece with regularly spaced bands of paint. But snapshots from the artist’s studio reveal pools of clashing drippings coagulating chaotically in an oversized tray placed below the work. The artist rarely uses brushes, and the closest thing to a stylus in his studio is a round bit used to create his drills, the second process he’s known for. For these, he repurposes accumulated layers of puddled epoxy from drip paintings like NOPRESENCENOHELLOIGOTAPLANNOWHERETOGO that have hardened into a single substrate. These remnants are profoundly satisfying in their own right, evoking the simple pleasure of observing cream pouring down into a clear glass of iced coffee or an oil spill in a puddle. He pours additional layers, some left over from other projects, atop each puddle until he has a sufficiently thick sheet. He then carves discs into the stratified epoxy at various spots so that the ground is pocked with ringed holes. In this way, the once obscured layers are revealed to a mesmerizing effect. Immersive works like EXPLAINMYHEART evoke the psychedelic pop murals of Takashi Murakami, but they differ crucially in two ways. For one, these pieces are not flat; they are dense with the evidence of the labor and mass that formed them. Additionally, their genesis is somewhat random, in that Linnenbrink doesn’t consider the placement or hue of the layers too carefully while the works are being made, so the uncovered rings are a constant surprise. Until the moment of the final reveal, they are, for all intents and purposes, byproducts. Reverses are the most recent of the three processes by which Linnenbrink’s paintings take form; the artist began utilizing this process in 2008 as a means of further pushing the physical depth of his paintings without turning to heavy machinery. As the process’s name suggests, Linnenbrink’s reverses take the drills’ use of excavation as a means of producing surprising revelations but instead invert it. For these works, which are classified as paintings but which dip and jut out from the wall at varying points like topographical elevation maps, the artist creates a variegated vinyl mold.2 To this, he pours his resins, often working between several pieces to allow the layers time to reach

various stages of setting before a subsequent pour of paint presses down on them.3 When a mold has been completely filled, he flips it, then peels off the vinyl skin to reveal color-based harmonies and juxtapositions that have been obscured up until now. What functions as the work’s surface is its older layer, but, as in the drill works, he doesn’t know what composition will present itself until he’s done.

In all three processes, there is an element of chance that sits in tension with the works’ anti-figurative, gestural appearance and that draws comparisons with the epic virtuosity of 1950s Abstract Expressionism. In contrast with this movement, which is memorably, if perhaps slightly reductively, associated with the apex of “artistic genius” in twentieth century America, Linnenbrink’s expressiveness is largely determined by forces over which the artist has little to no control—minute variations in viscosity, atmosphere, and friction that determine the paths of his drips and the resting places of the poured material. The artist arrived at this approach partly as a rejection of Germany’s Junge Wilde trend4 in the 1980s. Junge Wilde was a sister movement to the United States’ NeoExpressionism. While emphatically figural, it echoed Abstract Expressionism in its emphasis on heroic gesture and personal expression. As Linnenbrink was beginning his career in Berlin, Junge Wilde “was in full bloom.” “I had no real interest in that kind of painting,” he said. “I was thinking about how all of that—the idea of the ‘genius brushstroke’ and the aura surrounding the mostly white male painter—was asking for so much unearned attention. I personally wanted to walk away from that. I asked myself, “What if you take your will out of the equation and just pay attention to process?” Linnenbrink’s work occupies a unique space in that it is visually and sensorially enveloping but wholly unmotivated by personal ego. It shares an unlikely kinship with Fluxus, a playful but visually austere movement that took rise in the 1960s. Fluxus embodied the conceptualist inclinations of the mid-’60s to mid-’70s that the Junge Wilde were so keen to rail against, and its use of chance

presaged Linnenbrink’s: Parameters were established, but a variable factor ultimately determined the form of the piece. In all of Linnenbrink’s work, there is a sense of democracy and an erosion of the hierarchy between maker and viewer. In a 2016 essay, the critic David Pagel described Linnenbrink as painting “himself out of the picture.”5 While it is a colorful description, I am not sure it is quite accurate. Linnenbrink doesn’t so much disappear from his work as he shares the pleasure that can be taken from observing color “in the wild,” and from contemplating how the literal weight of the world informs our visual experience of it. Cat Kron is a writer and editor based in Los Angeles, CA.

NOTES 1. From an interview recorded by phone on December 3, 2020. Emphasis is the author’s. 2. Linnenbrink also makes self-standing works he considers sculptures, like GAMELANDTIMECURVE, that make similar use of this layering process. As is so often the case, however, this distinction is useful only as a taxonomic device, since all of his pieces have distinctly sculptural and painterly qualities. 3. In this way, the role of economy in his practice is extended to the very labor by which the pieces are created. No time is wasted in the studio. While one layer sets, he applies another to the next work down the line. His studio draws closer comparisons to a well-run factory than to a site of divine inspiration.

4. Translated from German as the “Young Wild Ones,” or alternately “Young Savages.” 5. David Pagel, “Gestural Abstraction in the Information Age,” Markus Linnenbrink, exhibition catalogue (New York: Ameringer | McEnery | Yohe, 2016).

AHOLETOSWALLOWUS, 2020 Epoxy resin and pigments on wood 63 x 51 inches 160 x 129.5 cm

ALLDELIGHTEDPEOPLE, 2020 Epoxy resin and pigments on wood 48 x 48 inches 121.9 x 121.9 cm

ALLTHENEONGODSTHEYMADE, 2020 Epoxy resin and pigments on wood 36 x 96 inches 91.4 x 243.8 cm

ALONEIWALKEDINRESTLESSSTREETS, 2020

Epoxy resin and pigments on wood 60 x 96 inches 152.4 x 243.8 cm

ANDEVERYBODYKNOWSTHATALMOSTDOESNTCOUNT, 2020

Epoxy resin and pigments, wood, metal, foam 30 1/8 x 23 x 13 inches 76.5 x 58.4 x 33 cm

ANDIREMEMBEREVERYONE, 2020 Epoxy resin and pigments on wood 63 x 51 inches 160 x 129.5 cm

ANDWHATDIFFERENCEDOESITMAKE, 2020

Epoxy resin and pigments on wood 24 x 36 inches 61 x 91.4 cm

APLANTHATLACKSCOHERENCE, 2020 Epoxy resin and pigments on wood 36 x 36 inches 91.4 x 91.4 cm

COMPLETELYOUTOFMYMIND, 2020

Epoxy resin and pigments on wood 60 x 48 inches 152.4 x 121.9 cm

DERWUNSCHTEILZWEI (thewhishparttwo), 2020

Epoxy resin and pigments on wood 72 x 72 inches 182.9 x 182.9 cm

DISAPPEARINGINBETWEEN, 2021 Epoxy resin and pigments on wood 36 x 36 inches 91.4 x 91.4 cm

EARLYONEMORNINGWITHTIMETOKILL, 2020

Epoxy resin and pigments on wood 36 x 95 inches 91.4 x 241.3 cm

EXPLAINMYHEART, 2020 Epoxy resin and pigments on wood 60 x 96 inches 152.4 x 243.8 cm

FALLUPINNOCENCE, 2020 Epoxy resin and pigments on wood 36 x 48 inches 91.4 x 121.9 cm

GAMELANDTIMECURVE, 2020–2021 Epoxy resin and pigments, wood, metal, foam 68 3/4 x 46 3/4 x 49 3/4 inches 174.6 x 118.7 x 126.4 cm

IHUNGMYHEADIHUNGMYHEAD, 2020

Epoxy resin and pigments on wood 86 x 54 inches 218.4 x 137.2 cm

ISAWALONERIDERCROSSINGTHEPLAIN, 2020 Epoxy resin and pigments on wood 86 x 54 inches 218.4 x 137.2 cm

ISTEALTHETIMEIAMATHIEF, 2020

Epoxy resin and pigments on wood 60 x 96 inches 152.4 x 243.8 cm

ITISALLGUCCIBABY, 2020 Epoxy resin and pigments on wood 17 x 17 inches 43.2 x 43.2 cm

IWOKEUPINAMERICA, 2021 Epoxy resin and pigments on wood 36 x 96 inches 91.4 x 243.8 cm

JUSTLETTINGGOOFCHOICESIHAVEMADE, 2020 Epoxy resin and pigments on wood 48 x 48 inches 121.9 x 121.9 cm

LOSTINREVERSEDREAMS, 2019

Epoxy resin and pigments on wood 90 x 60 inches 228.6 x 152.4 cm

LOUDSINGASIMPLESONG, 2020 Epoxy resin and pigments on wood 36 x 48 inches 91.4 x 121.9 cm

NOPRESENCENOHELLOIGOTAPLANNOWHERETOGO, 2020 Epoxy resin and pigments on wood, diptych 88 x 107 3/4 inches 223.5 x 273.7 cm

NOWIAMPRAYINGFORTHEENDOFTIME, 2021

Epoxy resin and pigments on wood 60 x 60 inches 152.4 x 152.4 cm

PLEASEGIVEMEFRIENDSPLEASEGIVEMEFAME, 2020

Epoxy resin and pigments on wood 60 x 96 inches 152.4 x 243.8 cm

REDEYESUNDERPRESSURE, 2020 Epoxy resin and pigments on wood 48 x 48 inches 121.9 x 121.9 cm

THEOLDESTCOMPUTERTHELASTNIGHT, 2020

Epoxy resin and pigments on wood 63 x 51 inches 160 x 129.5 cm

THESHADOWSOFTOMORROW, 2021 Epoxy resin and pigments on wood 48 x 96 inches 121.9 x 243.8 cm

WHATSITGONNABEBOY, 2021 Epoxy resin and pigments on wood 24 x 96 inches 61 x 243.8 cm

YOURARMSAROUNDMEINTHERAIN, 2020 Epoxy resin and pigments on wood 36 x 48 inches 91.4 x 121.9 cm

MARKUS LINNENBRINK Born in Dortmund, Germany in 1961 Lives and works in Brooklyn, NY

EDUCATION 1985–88 Academy of Fine Arts, Berlin, Germany 1982–85 Gesamthochschule, Kassel, Germany

SOLO EXHIBITIONS 2021 “WEREMEMBEREVERYONE,” Miles McEnery Gallery, New York, NY 2020 “IWANNABEWHEREYOUARE,” Taubert Contemporary, Berlin, Germany 2019 “LETMETELLYOUWHATTHERIVERSGONNADO,” Miles McEnery Gallery, New York, NY “WHOLEWIDEWORLDWONDERFUL,” Galería Max Estrella, Madrid, Spain “SLEEPWALKPARADISE,” Patricia Sweetow Gallery, San Francisco, CA 2017 “THEREAIN’TNOEASYWAYOUT,” Maurizio Caldirola Gallery, Monza, Italy “hereistandknockingatyourdoor,” Taubert Contemporary, Berlin, Germany “SUNANDWATER,” Patricia Sweetow Gallery, Oakland, CA 2016 “HOWCANISLEEPWITHROCKSINMYBED,” Ameringer | McEnery | Yohe Gallery, New York, NY

“Concourse Lobby”, 75 Rockefeller Plaza, New York, NY “BIENVIENUDAAMYDISCO,” SLS Brickell Hotel and Residences, Miami, FL 2015 “THEGRASSISALWAYSGREENER,” Galería Max Estrella, Madrid, Spain “THEFIRSTONEISCRAZYANDTHESECONDONEISNUTS,” Wasserman Projects, Detroit, MI “WHENTHEPASTWASPRESENTSOWILLBENOW,” Taubert Contemporary, Berlin, Germany 2014 “8 Wallpaintings for Morrison Forester,” New York, NY “THERIDENEVERENDS,” Pennsylvania Academy of Fine Arts, Philadelphia, PA “EVERYBODYWILLBEDANCINGIFWEAREDOINGITRIGHT,” Ameringer | McEnery | Yohe Gallery, New York, NY 2013 “day after day it reappears,” Patricia Sweetow Gallery, San Francisco, CA 2012 “so here is what you gonna do,” ft-contemporary, Berlin, Germany “THEREWERESONGSBEFORETHEREWASRADIO,” Ameringer | McEnery | Yohe Gallery, New York, NY Ana Serratosa Gallery, Valencia, Spain 2011 “too early and always and all over again,” Patricia Sweetow Gallery, San Francisco, CA “come a little closer,” Kong Tomlinson Contemporary, New York, NY 2010 “LISTENALLTHEWAYTHROUGH”, ftc gallery, Berlin, Germany “NOMATTERWHEREYOUGOTHEREYOUARE,” number35, New York, NY 2009 “BIGOUTREAGEOUSSOUND,” Galería Max Estrella, Madrid, Spain “ALLTHETHINGSTHATAREOUTSIDEOFME,” The Columns, Seoul, South Korea

“EVERYTHINGEVERYWHEREALLTHETIME,” Patricia Sweetow Gallery, San Francisco, CA 2008 “TRICKY FEVER,” Fiedler Contemporary, Cologne, Germany 2007 “FIFTEEN MINUTES WITH YOU,” Patricia Sweetow Gallery, San Francisco, CA “CECIN’ESTPASDUDISCO,” The Columns Gallery, Seoul, South Korea “AUFSTEIGEND (WALKABOUT),” Kunstverein Kreis Gütersloh, Germany

2006 “EVERYTHING ECSTATIC,” Patricia Sweetow Gallery, San Francisco, CA “VIELLEICHT LASS UNS DAS ALLEES NEHMEN,” Galerie Robert Drees, Hanover, Germany “MAYBEICANTAKEEVERYTHING,” Roy Boyd Gallery, Chicago, IL “ALLES EKSTASE,” Märkisches Museum, Witten, Germany “DARKER THAN BLUE (DIAMOND IN THE BACK),” Kunstverein Münsterland, Coesfeld, Germany 2005 “SCHICK SCHNACK SCHNUCK,” Margaret Thatcher Projects, New York, NY 2004 “EVOKE AN OBJECT,” Roy Boyd Gallery, Chicago, IL Galerie Renate Schröder, Cologne, Germany “SCHIEFEBAHN,” Neue Galerie, Kassel, Germany 2003 “THE BEAUTY YOU ARE,” Margaret Thatcher Projects, New York, NY “MYSELF OUTSIDE, UCLA,” Hammer Museum, Los Angeles, CA Roy Boyd Gallery, Chicago, IL Patricia Sweetow Gallery, San Francisco, CA 2002 Margaret Thatcher Projects, New York, NY “MITTIGLIGHT,” Museum Katharinehof, Kranenburg, Germany “REFLECTWHATYOUARE,” Renate Schröder Gallery, Cologne, Germany

2001 “Poured Milled Pressed,” Margaret Thatcher Projects, New York, NY Patricia Sweetow Gallery, San Francisco, CA Renate Schröder Gallery, Cologne, Germany Roy Boyd Gallery, Chicago, IL 2000 “Layered Over,” Wassermann Gallery, Munich, Germany Renate Schröder Gallery, Cologne, Germany 1999 “Neues Gestirn,” Singel 74 Gallery, Amsterdam, Netherlands “Let Run,” Wassermann Gallery, Munich, Germany “The Bottom Line,” Kunstverein Ahlen, Germany Renate Schröder Gallery, Cologne, Germany Roy Boyd Gallery, Chicago, IL 1998 “FIND AN UNIDENTICAL TWIN,” Wolfgang Werth Gallery, Düsseldorf, Germany “circumambient,” Kunstverein Recklinghausen, Recklinghausen, Germany “Only Zebras?,” Wassermann Gallery, Munich, Germany Renate Schröder Gallery, Cologne, Germany 1997 Renate Schröder Gallery, Cologne, Germany 1996 “stripes,” Verein für aktuelle Kunst, Oberhausen, Germany “stripes do not a zebra make,” Vincenz Sala Gallery, Brussels, Belgium 1995 Foundation, Clemens-Sels-Museum, Neuss, Germany “Colorado,” Wolfgang Werth Gallery, Düsseldorf, Germany Renate Schroder Gallery, Cologne, Germany 1994 “Colorado,” Vincenz Sala Gallery, Berlin, Germany

1993 “RGB+CO,” Wolfgang Werth Gallery, Düsseldorf, Germany “On the Floor,” Weber Gallery, Münster, Germany 1992 Charchut & Werth Gallery, Düsseldorf, Germany “Striped,” Museum am Ostwall, Dortmund, Germany 1991 Vincenz Sala Gallery, Berlin, Germany 1990 “Hete A.M.,” Hunermann Gallery, Düsseldorf, Germany City Gallery, Kulturring Sundern, Germany 1988 Produzentengalerie, Kassel, Germany Vincenz Sala Gallery, Berlin, Germany

GROUP EXHIBITIONS 2020 “Farbanstöße. Farbe in der neueren Kunst,” Kunstsammlung der Ruhr-Universität Bochum, Situation Kunst (für Max Imdahl), Bochum, Germany “Water Reverie,” Borusan Contemporary, Istanbul, Turkey

2017 “abstract remix,” New Art Projects, London, United Kingdom 2016 “Deck Voyage” (curated by Necmi Sönmez), Borusan Contemporary, Istanbul, Turkey 2015 “Revisiones,” Galeria Impakto, Lima, Peru 2014 “Opening Day,” ODETTA Gallery, Brooklyn, New York, NY “The Skull Show” (curated by Carrie Lederer) Bedford Gallery, Lesher Center for the Arts, Walnut Creek, CA “Off The Wall!” (curated by Harriet Zilch), Kunsthalle Nürnberg, Nuremberg, Germany “Selections of the Cleve Carney Collection” (curated by Barbara Wiesen), Cleve Carney Art Gallery, McAninch Artrs Center, Glen Ellyn, IL 2013 “Art Connects” (curated by Brad Silk), Queens Community Houses New York, New York, NY “3+4 B/W,” Taubert-Contemporary, Berlin, Germany 2012 “Buzz” (curated by Vik Muniz) Nara Roesler Gallery, São Paulo, Brazil “Local Color,” San José Museum of Art, San José, CA

2019 “The Responsive Eye Revisited: Then, Now, and In-Between,” Miles McEnery Gallery, New York, NY “They Are Uttered and Left Unfinished All the Loves in the World II,” Borusan Contemporary, Istanbul, Turkey “Notebook” (curated by Joanne Greenbaum) 56 Henry, New York, NY “Mankind in Minor,” Inter Port, Berlin, Germany

2011 “Roy G Biv,” Waterhouse & Dodd Gallery, New York, NY

2018 “paperfile#14,” Galerie oqbo, Berlin, Germany “Abstraction&Architecture,” (Days of Architecture) Strasbourg, France “Belief in Giants,” Miles McEnery Gallery, New York, NY

2009 “two degrees of separtion,” Sartori Gallery, New York, NY “A Measure of Humanity – The Harcos-Huneke Collection,” Grand Galleries, Grand Theatre Center, Tracy, CA

2010 The Beijing International Art Biennial, Beijing, China “out of the office,” Kunstmuseum Bochum, Bochum, Germany “im raum nichts als farbe sehen,” Galerie oqbo, Berlin, Germany

“we are all going to die,” Number35 Gallery, New York, NY “we are all going to die,” Sue Scott Gallery, New York, NY “Impacte! Collecio Olor Visual,” Fundació Vallapalou, Lleida, Spain 2008 “. . . einen AUGEN-Blick, bitte” / Please cast an eye...!,” Kunstverein Bad Salzdetfurth e.V., Bodenburg, Germany “Abstrakt - Malerei und Skulpturen,” Krammig & Pepper Contemporary, Berlin, Germany “Print Publishers Spotlight: Center Street Studio,” The Barbara Krakow Gallery, Boston, MA “Designs from Wallpaperlabs,” Visual Arts Center of Richmond, Richmond, VA “Fundamental Abstraction II,” Haines Gallery, San Francisco, CA “Material Color,” Hunterdon Art Museum, Clinton, NJ

“Privatgrün. Kunst im privaten raum. 55 Interventionen. Hausgarten/ Dachgarten/Schrebergarten” (curated by Jochen Heufelder), Fuhrwerkswaage Kunstraum, Cologne, Germany “Colors & Stripes,” Robert Drees Gallery, Hannover, Germany “Hard & Soft,” Margaret Thatcher Projects, New York, NY “Stop & Store,” Luxe, New York, NY “The Color Line” (curated by Lisa Hatchadoorian), Islip Art Museum, East Islip, NY 2003 “Strata,” Davidson Galleries, Seattle, WA Conny Dietzschold Gallery, Sydney, Australia “Summer Color,” Elizabeth Harris Gallery, New York, NY “Chilufim/Transfer,” Kunstmuseum Bonn, Bonn, Germany Museum Haus Esters, Krefeld, Germany

2007 “Bright, I Space,” The Chicago Gallery of the University of Illinois, Chicago, IL “Hot and Cold,” Trustman Art Gallery, Simmons University, Boston, MA “Holiday Reading,” Number35, New York, NY “An Eclectic Eye: Selections from the Dean Leach Collection,” Tucson Museum of Art, Tuscon, AZ

2002 “Breathing Room,” Margaret Thatcher Projects, New York, NY “Transit,” Margaret Thatcher Projects, New York, NY “Floor-to-Ceiling,” Aldrich Museum of Contemporary Art, Ridgefield, CT “Chilufim/Transfer,” Herzliya Museum of Contemporary Art, Herzliya, Israel and Israel Museum, Jerusalem, Israel Kunstverein Heinsberg, Heinsberg, Germany

2006 “Transparent: Aquarellmalerei der Gegenwart,” XYLON Museum, Schwetzingen, Germany “The Scent of Korea,” Daegu National Museum, Daegu, South Korea

2001 “Heat,” Margaret Thatcher Projects, New York, NY “Encaustics,” Roy Boyd Gallery, Chicago, IL

2005 “Klasse Girke,” Verein für aktuelle Kunst, Oberhausen, Germany Weishaupt Collection, Museum für Konkrete Kunst, Ingolstadt, Germany “Color Theory,” Schweinfurth Memorial Art Center, Auburn, NY 2004 “Kinetic,” Bank Gallery, Los Angeles, CA “Prints and Portfolios from the Center Street Studio,” The Iris and B. Gerald Cantor Art Gallery, College of the Holy Cross, Worcester, MA “Abstraction Pure & Impure” (curated by Judith Tolnick), Fine Arts Center Galleries, University of Rhode Island, Kingston, RI

2000 “Painting Today-Overseas and Here,” Renate Schröder Gallery, Cologne, Germany Patricia Sweetow Gallery, San Francisco, CA “Seems: Work at the Edge of the Exhibition Space,” The Block Museum of Art, Northwestern University, Evanston, IL “After Zurich,” Galerie la Ferronnerie, Paris, France “The Color Got Me,” Verein für aktuelle Kunst, Oberhausen, Germany “Abstrakt Eins,” Gallerie Fahnemann, Berlin, Germany

1999 “Passages,” Exhibition in various churches in Recklinghausen, Germany

SELECT COLLECTIONS City of Stuttgart, Stuttgart, Germany

1998 Architectural Exhibition, Wetter, Germany Roy Boyd Gallery, Chicago, IL

Clemens - Sels - Museum, Neuss, Germany Davis Museum, Wellesley College, Wellesley, MA

1997 “what you missed in ‘96,” Vincenz Sala Gallery, Brussels, Belgium “1985–1997,” Verein für aktuelle Kunst, Oberhausen, Germany

El Espacio 23, Miami, FL Hammer Museum, University of California Los Angeles, Los Angeles, CA

1996 “works on paper,” Stefan Rasche Gallery, Münster, Germany “state of affairs,” Gustav-Lübcke-Museum, Hamm, Germany

Herzliya Museum of Contemporary Art, Herzliya, Israel Hood Museum of Art, Dartmouth College, Hanover, NH

1994 “KunstKreuzKirche,” Heilig-Kreuz-Kirche, Dortmund, Germany 1993 “Painterly Proposals,” Weber Gallery, Münster, Germany

Kunsthalle Recklinghausen, Recklinghausen, Germany Leinemann Foundation, Berlin, Germany Margain-Junco Collection, Monterrey, Mexico

1992 “1986,” Vincenz Sala Gallery, Berlin, Germany 1991 “cross section,” Karl Ernst Osthaus Museum, Hagen, Germany “Märkisches Stipendium,” Städtische Galerie Ludenscheid, Ludenscheid, Germany

Ministry of Culture, The Hague, The Netherlands Museum Ostwall, Dortmund, Germany Neue Galerie, Kassel, Germany Pennsylvania Academy of Fine Arts Museum, Philadelphia, PA

1989 “6th Exhibition of the Jurgen Ponto Foundation,” Kunstverein Frankfurt, Frankfurt am Main, Germany and Pels Leusden Gallery, Berlin, Germany 1988 “Play Off,” Academy of Fine Arts, Berlin, Germany

Rockefeller Group, New York, NY Sammlung Deutsche Bank, Frankfurt am Main, Germany San Francisco Museum of Modern Art, San Francisco, CA San José Museum of Art, San José, CA Schwartz Art Collection, Harvard Business School, Cambridge, MA UBS Art Collection, New York, NY

Published on the occasion of the exhibition

MARKUS LINNENBRINK WEREMEMBEREVERYONE 1 April – 8 May 2021 Miles McEnery Gallery 525 West 22nd Street New York NY 10011 tel +1 212 445 0051 www.milesmcenery.com Publication © 2021 Miles McEnery Gallery All rights reserved  Essay © 2021 Cat Kron Director of Publications Anastasija Jevtovic, New York, NY Photography by Christopher Burke Studio, New York, NY Elisabeth Bernstein, New York, NY Color separations by Echelon, Santa Monica, CA Catalogue layout by McCall Associates, New York, NY ISBN: 978-1-949327-44-1 Cover: IWOKEUPINAMERICA (detail), 2021