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Robert Huot: Systemic Painting    Oct 27, 2012 - Feb 1, 2013

Installation view
Robert Huot
Installation view
 
Installation view
Robert Huot
Installation view
 
Intallation view
Robert Huot
Intallation view
 
Leeward Traffic
Robert Huot
Leeward Traffic, 1966
 
Nine gray
Robert Huot
Nine gray, 1968
 
The color of meetings
Robert Huot
The color of meetings, 1968
 
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Robert Huot

…painting two walls of the Paula Cooper gallery blue and coating the sanded floor with polyurethane, Huot searched for ways to work as an artist with Huot participating in the commerce of art, which seemed to continue oblivious of larger political developments. Finally, Huot’s interest in making art that was virtually invisible led to his own disappearing act: he bought a farm in central New York and, with his spouse, Twyla Tharp, moved into the farmhouse to reconnoiter.

The rhythms of the farm forced Huot out of his city sense of time and into new ways of thinking about art. In 1966, Huot met Hollis Frampton, whose interest in film and willingness to share what he knew with Huot, helped enter the arena of filmmaking.4 During the late 1960s, Huot successfully brought his minimalist/conceptual aesthetic to celluloid, with inventive results: he scratched into the emulsion (for Scratch, 1967)…

From the Text HUOT by Scott MacDonald, Professor Emeritus, Utica College of Syracuse University

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