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Courtesy the artist and David Zwirner, New York. Photo by Dillon Scheps
This exhibition consists of multi-part sculptures, comprising nearly 100 components. In a panoply of colors, the singular elements, ranging from 8 to 10 feet in height, suggest the broad chromatic spectrum of the natural world. With deep and vibrant hues, each work is a meditation on absolute color, occupying the space between sculpture and painting by proposing volumetric color as its own conceptual entity. This exhibition marks a departure from the austerity and economy of form that has characterized McCracken’s most recent exhibitions, instead celebrating abundance and discovering rhythm through color. To create this new body of work, the artist has altered the proportions of his renowned planks, eschewing frontality in favor of a slender construction and deceptively simple, the works simultaneously refer to nothing and possibly everything. The groupings in this exhibition conjure an image of humanity, ﬁguring individuality, heroism, diversity, and interdependence. Exceeding the representation of a singular entity, however, the works concurrently function as a critical investigation of existence and levels of reality. McCracken has said, “All things are essentially mental. Matter, while quite real on the one hand, is on the other hand composed of energy, and in turn, of pure thought.” Amid the boundaries of art and architecture, McCracken creates entirely new connections to Minimalism’s central themes by suggesting the integrity of abstraction as a psychological and physiological process.
On the occasion of this solo exhibition — the artist’s fourth at David Zwirner—Radius Books will publish John McCracken: Sketchbook.(read less)