SEP TEMBER 8 – OC TOBER 15, 2016
M A R I LY N LE R N E R
HARMONIES
SEP TEMBER 8 – OC TOBER 15, 2016
MARILYN LERNER
1
BOARD OF DIRECTORS
ADVISORY COUNCIL
Thomas G. Devine
Lynn Crawford
Theodore S. Berger Thomas K.Y. Hsu Vivian Kuan
Corina Larkin
Brian D. Starer
Gregory Amenoff, Emeritus
STAFF
Corina Larkin Executive Director Beatrice Wolert-Weese Deputy Director
Polly Apfelbaum Katie Cercone Ian Cooper
Michelle Grabner Eleanor Heartney
Trenton Doyle Hancock Pablo Helguera Paddy Johnson Deborah Kass
Sharon Lockhart
Rossana Martinez Juan Sรกnchez
Irving Sandler
Shona Masarin-Hurst Programs Manager
Lilly Wei
Chase Martin Development Associate
Andrea Zittel
2
Roger White
CUE Art Foundation is a dynamic visual arts center dedicated to creating essential career and educational opportunities for emerging artists of
all ages. Through exhibitions, arts education, and public programs, CUE
provides artists and audiences with sustaining and meaningful experiences and resources.
CUE’s exhibition program aims to present new and exceptionally strong work by under-recognized and emerging artists based in the United States, and is committed to exhibiting work of all media, genres, and styles from artists of all ages.
The 2016 exhibition season marks the debut of a hybrid artist selection
process featuring solo exhibitions curated by established artists, alongside a series of solo and group exhibitions selected by an annual Open Call. In line with CUE’s commitment to providing substantive professional development
opportunities, curators and Open Call panelists also serve as mentors to the exhibiting artists, providing support throughout the process of developing the exhibition. We are honored to work with artist Deborah Kass as the curator of this exhibition.
3
MARILYN LERNER My oil paintings on wooden panels are composed of geometric forms. These forms are seen everywhere in the natural world and may be simple or complex. They were the first shared visual language and multicultural signifiers. My paintings are developed from life experiences and interests. Color is a very important element in the work and I have long been interested in the relationship of color and sound. Not from a scientific approach, but how music can inspire and develop color. Javanese court Gamelan music opened up exploration of black and white and inspired numerous trips to Indonesia. More recently, Algerian RaĂŻ music has altered my palette with intense colors and optical movement. I love to travel, and painting is a journey that you take not knowing where you will end or what the experiences will be along the way.
4
ARTIST BIO New York-based painter Marilyn Lerner was born in Milwaukee, Wisconsin. She received her BS from the University of Wisconsin, Milwaukee, WI, and MFA from Pratt Institute, Brooklyn, NY. She has presented solo exhibitions at the Butler Gallery Museum, Kilkenny, Ireland, curated by Anna O’ Sullivan; John Good Gallery, NY; and Robert Morrison Gallery, NY. Group exhibitions include Full Tilt, curated by John Yau, Novella Gallery, NY; Susan Hartnett, Ralph Humphrey, Marilyn Lerner, Donna Nelson, curated by Klaus Kertess, Mary Boone Gallery, NY; and Aspects of Abstract Painting Since 1970, curated by Lilly Wei, Newhouse
Center for Contemporary Art, NY, amongst others. She has been the recipient of numerous awards and fellowships including the Adolph and Esther Gottlieb Individual Artist Grant; the Indo American fellowship Fulbright Scholarship; the McDowell Colony Fellowship; and grants from the New York Foundation for the Arts; The New York State Council on the Arts; and the National Endowment For the Arts. Her work has been written about in the Irish Times, New York Times, Artforum, Arts Magazine, Art in America, Hyperallergic, BOMB Magazine, and Flash Art.
5
DEBORAH KASS CURATOR-MENTOR
RAZZLE DAZZLE In the presence of Marilyn Lerner’s painting, one has a feeling of spirit dancing with form. It is the dance that has drawn me towards her work for over three decades. And it’s the razzle dazzle that keeps me standing there. Precision and sophisticated color give these paintings their jazzy glamour. Looking at them sometimes feels like watching a choreographer pulling out the best moves from their awesome dancers on a chorus line. For all the work’s sense of spiritual awareness that clearly informs each piece, it is the paintings’ formal pyrotechnics and materiality that anchor them in this physical world, as they jump around and wow us with trippy visuals and precision pleasures. Lines move in and out as you look, the colors vibrate and bounce off each other, never standing still. Shapes jump in and out of the picture plane. They become syncopated harmonies, tapping their way into ethereal realms.
6
CURATOR BIO Deborah Kass is an artist whose paintings examine the intersection of art history, popular culture and the self. Her work is in the collections of The Metropolitan Museum of Art, The Museum of Modern Art, The Whitney Museum of Art, The Solomon Guggenheim Museum, The Jewish Museum, The Museum of Fine Art, Boston, The Cincinnati Museum, The New Orleans Museum, The National Portrait Gallery, Smithsonian Institute, The Fogg Art Museum / Harvard Art Museum, as well as other museums and private collections. Kass’s work has been shown nationally and internationally including at the Venice Biennale, the Istanbul Biennale, and the Museum Ludwig, Cologne. The Andy Warhol Museum presented Deborah Kass, Before and Happily Ever After, a mid-career retrospective in 2012, accompanied by a catalogue published by Rizzoli, with essays by Irving Sandler, Griselda Pollack, John Waters and others. Her monumental sculpture OY/YO located in Brooklyn Bridge Park has become an instant icon, appearing on the front page of the New York Times and is a beloved destination in NYC.
A show of Kass’s paintings will open at Brand New Gallery Milan, Italy in September 2016. Her print Vote Hillary is an official commemorative print for Hillary Rodham Clinton’s presidential campaign. The Neuberger Museum has commissioned an installation to inaugurate their new space on 42nd Street in Fall 2016. In 2014, Kass was inducted into the New York Foundation for the Arts Hall of Fame. She is a member of the Board of the Andy Warhol Foundation. Kass’s work is represented by Paul Kasmin Gallery.
7
8
Lingering Anticipation 2015-2016 24” x 18” Oil on wood
9
Inside Outside, 2016 32” x 24” Oil on wood
10
Comes Full Circle, 2015-2016 30� diameter circle Oil on wood
11
She Sways, 2016 53” x 19” Oil on wood
12
Scaffold of Memory, 2016 30” x 19” Oil on wood
13
Back and Forth, 2016 48” x 36” Oil on wood
14
Repetition, 2016 30” x 24” Oil on wood
15
Squaring, 2014 24” x 32” Oil on wood
16
Layers of Memory, 2016 30” x 24” Oil on wood
17
Quartet, 2011 19” x 30” Oil on wood
18
Maze, 2013 36” x 24” Oil on wood
19
20
Pink Center for S.M., 2012 24” x 25” Oil on wood Acquired by the Office of Public Works for the State Art Collection, Ireland, 2014
21
LEFT TO RIGHT Morning Raga, 2012 24” x 24” Oil on wood Eight Ovals, 2011 22” x 30” Oil on wood Squaring, 2014 24” x 32” Oil on wood Devi, 2012 54” x 30” Oil on wood Photography by Roland Paschhoff, courtesy Butler Gallery
22
23
24
LEFT TO RIGHT Hand in Hand, 2012 48” x 36” Oil on wood Center Point, 2011 40” x 30” Oil on wood Photography by Roland Paschhoff, courtesy Butler Gallery
25
NEW WORKS BY MARILYN LERNER: A SUSTAINED SPONTANEITY ANNA TOME
When I met the painter Marilyn Lerner in her Chelsea studio on a sweltry June morning, I was impressed to learn that the small couch in the middle of the room was not there for sitting, as I had assumed, but was actually the place that the slight, curly-haired artist slept every night as she advanced her newest body of acutely colored, geometric abstractions. Knowing this, the short distance to her actual bedroom—located several yards away behind a freestanding partition— became more metaphorical than physical. The passage from the psychological realms of the work to her living quarters and back was apparently too great to make over and over again; as she traveled deeper into the latter, it was necessary to set up a bed there, rest, and wake with the work each day in order to move farther with it. Lerner’s obsessive immersion gives us the privilege of encountering paintings that have been created slowly, and with minimal outside influence, as opposed to the influx of external references so common in much “postinternet” painting of today. 26
The artist instead works surrounded only by her own headspace: her most recent series, begun over the past two years, is the result of spending long months in deep focus and solitude in the studio—as she has always done, but this time with greater deliberation than before. I learned that the paintings’ polychromy is completely unplanned, as she mixes each hue of oil in response to the colors and forms around it, creating a fully self-determined painting. The result is a singular work whose interior vibrations and spatial relationships are at first unexpected, but ultimately persuasive. As in many of her previous geometric explorations, Lerner eschews academic color theory in favor of a logic that is based on the painting itself, seen best in Pink, 2015-2016 (opposite). A warm magenta bolsters the center of the composition, with shades of pink reverberating around it, punctuated with staccato blocks of highly unexpected tones: forest green, slate grey, navy blue, and dark
Pink, 2015-2016 49” x 26” Oil on wood Private collection
27
What Goes Around Comes Around, 2015-2016 36� diameter circle Oil on wood
28
brown. The rectangle—repeated, reoriented, and broken up—is the unifying structure; its interlacing allows for Lerner’s individuated color vocabulary to follow its own logic. Here, the color spectrum is turned on its head and rearranged into a precise chaos within the confines of its dimensions that feels intensely deliberate in its aggregate wholeness. While most of Lerner’s syntactical shapes surface within the painting, for this new series, she began re-incorporating shaped supports—something she had abandoned in the early ’90s and picked back up—with What Goes Around Comes Around, 20152016 (opposite). When she chooses the size and shape of her wood panels, it is as purely instinctive as her color system. According to Lerner, the incised circular shape of this particular panel dictates the forms within it, and the forms within determine the interaction of color: improvised movements flourish within a predetermined structure—not unlike many forms of music. As Lerner instructed me on our visit, “Music has the same wavelength as color.” In her artist statement, Lerner has herself expressed that she at one point aspired to make paintings that visually corresponded to the sound of Javanese Gamelan music (a sustained passion she pursued during multiple trips to Southeast Asia). It’s not hard to see how the elaborate rhythmic structures of Gamelan music, in which each instrument is set to its own tuning system, relate to the artist’s complicated visual systems and idiosyncratic geometric vocabulary. The influence behind these recent paintings is Algerian Raï folk music, whose soulful, impassioned longing appear to have inspired even further rapture in
color and form. But while Lerner has certainly been influenced by the music and art of East Asia and Africa, the content of the paintings remains completely insular to the work. Though one would not expect so in looking at this series, Lerner did not start out as a painter. She began her initial course of study as a printmaker at the University of Wisconsin, Madison, around the time printmaker Alfred Sessler spearheaded a huge expansion of its printmaking program and teaching methods, spurring a print renaissance at the university. After earning her BFA, she moved to New York to pursue an MFA at the Pratt Institute, but rejected printmaking upon graduation. She found a tiny studio in SoHo and started making sculpture from the refuse of factories and industrial manufacturers that surrounded the neighborhood. The result of this period was extraordinary sculptures modeled from wooden die cut shapes, which were included in the 1970 Sculpture Annual at the Whitney Museum of American Art. They are fascinating not only for the cues she says she took from H.C. Westermann, but also for Lerner’s audacity in picking up power tools and metal clamps for the first time in order to teach herself the demanding techniques with which she wrought these impressively polished forms. But by 1970 Lerner had completely abandoned sculpture, taken up painting, and settled into her current studio in Chelsea. Her abiding interest in non-Western cultures—inspired by her early childhood fascination with anthropology—spurred her to embark on a series of serious travels throughout the ’70s and ’80s. She spent months alone, moving through Turkey, North Africa, and Southeast Asia at a time when and in places where 29
women did not enjoy the same public freedoms they do today. And just as she fearlessly rode a motorcycle through the remote outer islands of Indonesia—alone, without a helmet or even a map— she started over in her art practice. With confident abandon, Lerner once again taught herself a new technique while remaining committed to the same considered building of forms. The impetuous self-transformation from one medium to another seems to have freed the artist to develop the confident geometric language present in the newest paintings: the remnants from each new period have evolved to feed her everchanging aesthetic system. Such artistic evolutions themselves are only possible given the depth that comes with focusing on one thing at a time. Perhaps Lerner’s restrained boldness is aided by her strict adherence to repetition and ritual. Each day in the studio begins and ends in the same exact manner; I observed an impeccably ordered workspace, with cleanly wrapped mixed color from previous sessions, ready to go. Her adjacent living space is decorated with Indian miniature paintings, textiles, ceramics, altars, and various objects collected from India, Bali, and China—her inspirations and materials neatly organized and close at hand.
What Goes Around Comes Around, 1969 18” x 13” x 5” Laminated wood, acrylic paint, graphite pencil, and metal studs
30
Among her collection hangs a Jain painting with a circular mandala, a form that Lerner frequently references and often stands in for a microcosm— and is an apt metaphor for the artist’s process. According to Eastern religious traditions, such a form is inherently magical; its very existence is meant to affect and be affected by the space around it. But in her paintings, Lerner completely extricates it from its spiritual context, an act she ardently defends by articulating her own disinterest
in religion. It’s a far different and deeper method than the appropriation of exotic forms, colors, or cultures. It is instead a subconscious processing of these stimuli, which is articulated years, and sometimes decades, later in the equally unplanned moment in which her brush touches the surface. Accordingly, these newest paintings float in a less accessible, unconscious realm in which the senses—especially sight and sound—are applied rigorously to synthesize new geometric and tonal vocabularies. This abstraction is not the means to an end but the end in itself. What Goes Around Comes Around, 2015-2016, exemplifies the spontaneous freeing of these eternal forms from their context and their quiet echoes within Lerner’s own oeuvre. For this new painting, the lozenge from her 1969 sculpture of
the same name has been rearticulated in a field of punchy yellow, but the artist insisted to me that this was not a foregone conclusion when she approached the blank surface. Although they were selected in the moment, her color choices here (and elsewhere) exhibit a typically rigorous engagement with various inputs absorbed from her intensive travel experiences in Turkish markets, studies with master Indian painters, and at Indonesian festivals. The piece is thus at once unplanned and deliberate, suggesting that random chance finds its most authentic expression in the silent, still moments in Lerner’s studio—and offers us a sustained, spontaneous experience of our own, if we can simply look as slowly as the work urges us to.
This essay was written as part of the Young Art Critic Mentoring Program, a partnership between AICA-USA
(US section of International Association of Art Critics) and CUE, which appoints established art critics to serve as mentors for emerging writers. In 2014, CUE joined forces with Art21, combining the Young Art Critic Mentoring
Program with the Art21 Magazine Writer-in-Residence initiative. Each writer composes a long-form critical essay
on one of CUE’s exhibiting artists for publication in CUE’s exhibition catalogue, which is also published by Art21 in its online magazine. Please visit aicausa.org for more information on AICA-USA, or cueartfoundation.org to learn
how to participate in this program. Any quotes are from interviews with the author unless otherwise specified. No
part of this essay may be reproduced without prior consent from the author. Lilly Wei is AICA’s Coordinator for the program this season. For additional arts-related writing, please visit on-verge.org.
Writer Anna Tome is a Brooklyn based writer, researcher, and curatorial assistant. Her work has appeared
in Hyperallergic, the Brooklyn Rail, C Magazine, and elsewhere. She received a BA in English Literature and a BA with honors in Art History from Mills College in 2010. She is currently an MA candidate at Hunter College.
Mentor Sarah P. Hanson writes about art, design, and culture for New York, T, Modern Painters, Artinfo, and Artnet News, among others. A former editor in chief of Art + Auction magazine, she holds a B.A. from Vassar College and has also served in editorial roles at ARTnews magazine, Assouline Publishing, and Paddle8.
31
CUE Art Foundation’s operations and programs are made possible
with the generous support of foundations, corporations, government agencies, individuals, and its members.
MAJOR PROGRAMMATIC SUPPORT PROVIDED BY Agnes Gund Anholt Services (USA) Inc. CAF American Donor Fund Compass Group Management LLC Compass Diversified Holdings Elizabeth Firestone Graham Foundation The Joan Mitchell Foundation Lenore Malen and Mark Nelkin The Milton and Sally Avery Arts Foundation William Talbot Hillman Foundation New York State Council on the Arts with the support of Governor Andrew Cuomo and the New York State Legislature This program is supported, in part, by public funds from the New York City Department of Cultural Affairs, in partnership with the City Council This project is supported in part by an award from the National Endowment for the Arts
32
All artwork Š Marilyn Lerner.
Catalogue design by Shona Masarin-Hurst.
33
137ÂWEST 25TH STREET NEW YORK, NY 10001 CUEARTFOUNDATION.ORG