Sol LeWitt Locks Gallery

Sol LeWitt

Four Color Line Drawing with Progressively Wider Spaces Between, 1972

color pencil on paper

10 1/2 x 8 1/4 inches

Ralph Humphrey Locks Gallery Painting

Ralph Humphrey

Untitled, 1967

day-glo on shaped canvas

52 x 52 inches 

Thomas Chimes Locks Gallery

Thomas Chimes

Untitled, 1970

acrylic on Plexiglas in metal frame

14 3/8 x 17 3/8 inches 

Thomas Chimes Locks Gallery

Thomas Chimes

Untitled, 1970

acrylic on Plexiglas in metal frame

22 3/4 x 27 1/4 inches 

Thomas Chimes Locks Gallery

Thomas Chimes

Untitled, 1970

acrylic on Plexiglas in metal frame

17 x 20 inches

Thomas Chimes Locks Gallery

Thomas Chimes

Untitled, 1970

acrylic on Plexiglas in metal frame

16 x 17 3/4 inches 

Thomas Chimes

Skylane, 1969

acrylic on Plexiglas in metal frame

21 x 41 inches 

Warren Rohrer Locks Gallery Painting

Warren Rohrer

Winter Fog, 1973

oil on linen

72 x 72 inches 

Warren Rohrer Locks Gallery

Warren Rohrer

Pond 2, 1975
oil on linen
60 x 60 inches

Sean Scully Locks Gallery

Sean Scully

Horizontals: Grey #2, 1976

acrylic on canvas

84 x 84 inches 

Lee Ufan Locks Gallery Painting

Lee Ufan

From Winds, 1983

pigment on canvas

63 3/4  x 51 1/8 inches 

Pat Steir Locks Gallery

Pat Steir
Pink and Blue, 2014
oil on canvas
62 x 51 inches

Press Release

All things in the universe start from a point and return to a point. One point calls up a new point, and extends into a line. Everything is a scene of gathering and dispersal of points and lines. Existence is a point and life is a line, so I am also a point and a line.

-Untitled note, n.d., from Lee Ufan (Tokyo: Bijutsu Sjuppansha, 1986)

 

From the metal, mechanical edges of Chimes’ constructions to the sinuous drips in Steir’s paintings, line takes different forms in this group exhibition of paintings predominantly from the 1970s. Natural or mechanic, gestural or rigid, the painted line is explored from past to present. 

The influence of Minimalism in the 1960s had profound effect on abstract painting. Artists in the following decade continued experimenting with line and grid—questioning the very act and object of painting as they wrested its meanings from the dominance of gesture, as exemplified by Abstract Expressionism in the post-war period. 

This selection of paintings from the 1970s shows a range of Minimalist-inspired experimentations with abstraction: hazy, striped plexiglas paintings by Thomas Chimes (1921-2009), a Day-Glo round-edged canvas by Ralph Humphrey (1932-1990), atmospheric grid-based oil paintings by Warren Rohrer (1927-1995), subtly-lined acrylic monochromes by Sean Scully (b. 1945), and a pencil drawing by Sol LeWitt (1928-2007), are seen in relation to more recent paintings by Lee Ufan (b. 1936) and Pat Steir (b. 1940), who continue to explore the legacies of line and gesture in abstract painting today.