Gary Kuehn
Untitled, 1967
Graphite and enamel paint on paper
Paper 35.5 x 28 cm 14 x 11 inches
Frame 42.5 x 34 x 3 cm 16 3/4 x 13 3/8 x 1 1/8 inches
Frame 42.5 x 34 x 3 cm 16 3/4 x 13 3/8 x 1 1/8 inches
Copyright the artist | Courtesy of Häusler Contemporary Zurich
Photo: Dirk Tacke
Die Zeichnungen sind Studien zu Kuehns skulpturaler Serie „Melt Piece', in der scheinbar rigide und stabile Formen den Prozess des Schmelzens durchlaufen. Kuehn fängt den Moment ein, in dem sich...
Die Zeichnungen sind Studien zu Kuehns skulpturaler Serie „Melt Piece", in der scheinbar rigide und stabile Formen den Prozess des Schmelzens durchlaufen. Kuehn fängt den Moment ein, in dem sich die Geometrie verflüssigt und setzt damit ein Statement gegen die strengen Formen der Minimal Art. Sein damit früher postminimalistischer Ansatz rückt die Prozessualität in den Vordergrund und eröffnet Raum für Gefühle und Sinnlichkeit in der Rezeption von Kunst. Obwohl Kuehn seine Skulpturen aus der strengen Sprache seiner Vorgänger:innen entwickelt, verdeutlichen sie zusätzlich sein persönliches Interesse an Psychologie und menschlicher Erfahrungswerte. Die Thematik des freien Schaffens, das Ausloten von Grenzen und Zwängen, sowie die eigene Körperlichkeit in Bezug zu anderen ist allen Werken der „Melt Pieces“ immanent. Das Fließende und Organische symbolisiert den Wunsch die absolute Form der Minimal Art, zugunsten eines emotionaleren Ansatzes, zu untergraben. Dabei wird dem Material selbst die Aufgabe übertragen, die internen Bedeutungen der Werke durch ihre Beschaffenheit zu enthüllen.
Skulpturen der Serie „Melt Piece“ wurden 1966 in der ikonischen, von Lucy Lippard kuratierten Ausstellung Eccentric Abstraction in der New Yorker Fischbach Gallery gezeigt.
The drawings are studies for Kuehn's sculptural series "Melt Piece", in which seemingly rigid and stable forms undergo the process of melting. Kuehn captures the moment in which geometry liquefies, thereby making a statement against the strict forms of Minimal Art. His early post-minimalist approach emphasizes processuality and opens up space for emotions and sensuality in the reception of his art. Although Kuehn develops his sculptures from the strict language of his precursors, they also illustrate his personal interest in psychology and human experience. The subject of free creation, the exploration of boundaries and constraints, as well as one's own physicality in relation to others is immanent in all the works of the "Melt Pieces". Flowing and organic parts symbolize the desire to undermine the absolute form of Minimal Art in favor of a more emotional approach. The material itself is given the task of revealing the internal meanings of the works through its texture.
Sculptures from the "Melt Piece" series were shown in the iconic Eccentric Abstraction exhibition curated by Lucy Lippard at New York's Fischbach Gallery in 1966.
Skulpturen der Serie „Melt Piece“ wurden 1966 in der ikonischen, von Lucy Lippard kuratierten Ausstellung Eccentric Abstraction in der New Yorker Fischbach Gallery gezeigt.
The drawings are studies for Kuehn's sculptural series "Melt Piece", in which seemingly rigid and stable forms undergo the process of melting. Kuehn captures the moment in which geometry liquefies, thereby making a statement against the strict forms of Minimal Art. His early post-minimalist approach emphasizes processuality and opens up space for emotions and sensuality in the reception of his art. Although Kuehn develops his sculptures from the strict language of his precursors, they also illustrate his personal interest in psychology and human experience. The subject of free creation, the exploration of boundaries and constraints, as well as one's own physicality in relation to others is immanent in all the works of the "Melt Pieces". Flowing and organic parts symbolize the desire to undermine the absolute form of Minimal Art in favor of a more emotional approach. The material itself is given the task of revealing the internal meanings of the works through its texture.
Sculptures from the "Melt Piece" series were shown in the iconic Eccentric Abstraction exhibition curated by Lucy Lippard at New York's Fischbach Gallery in 1966.