Front room, counterclockwise from right of entryway, at window:
1. Joseph Marioni Blue Painting, 2002 Acrylic and Linen on Stretcher: 26"x22"
2. Robert Ryman Philadelphia Prototype, 2002, 2002 Acrylic on vinyl and wall. Overall wall dimensions: two walls adjoined at corner, approx. 10'5x10'2 and 10'5x27'6": [ten vinyl panels, ea. approx. 23 7/8"x23 7/8"]
John Zurier Oblaka 51, 2001 Oil on linen: 11"x14"
4. John Zurier Oblaka 14, 2000 Oil on linen: 36"x24"
Second room, counterclockwise from right of entryway:
5. Joseph Marioni Red Painting, 2000 Acrylic and Linen on Stretcher: 60"x48"
6. Joseph Marioni Green Painting, 2000 Acrylic and Linen on Stretcher: 32"x30"
7. John Zurier Oblaka 61, 2002 Oil on Linen: 24"x20"
8. John Zurier Oblaka 19, 2000 Oil on Linen: 24"x36"
9. John Zurier MAZ 3, 2000 Oil on canvas: 93"x126"
In a special project we are honored to present new work in varying scale by three artists respected for a distinctive focus on painting itself: John Zurier, Robert Ryman and Joseph Marioni.
Each works within his own characteristic range of palette and color study in relation to scale, structure and ‘hand’ or approach to the medium. Transparency, viscosity or the light-emitting properties of earth pigments are some elements which figure into the delineated but illuminating explorations of Marioni, Ryman and Zurier respectively. But while the work of each is very different, we find it of interest, also, that all three include the support and its materials as an important and integral part of the work.
Outstanding public and private collections, including major museums here and abroad, have acknowledged all three, proportionate to the length of their careers. Many note the rigorous attitude taken by each of these artists to his work, but more importantly it is balanced and rewarded by the resonance and complex visual richness of the paintings for which they are known.
Beginning February 15 and continuing through mid-April, this exhibition happens to overlap two other important exhibitions in our area, the 2002 Biennial Exhibition at the Whitney Museum of American Art in New York (in which, it turns out, John Zurier is included for the first time and Robert Ryman and Joseph Marioni have both been in previous years) and a planned coincidence: Barnett Newman at the Philadelphia Museum of Art. In the fifteen years of our gallery’s full-time operation, we have worked in depth with many outstanding artists at various periods of their careers; with this exhibition we hope to continue what we feel is a vital dialogue between artists linked through time by a sense of the importance of painting.
Regular hours for the gallery are as follows: we are open to the public on Fridays and Saturdays 11AM to 5 PM, and Tuesdays, Wednesdays and Thursdays with an appointment advised. Please call for updated and/or additional hours during this exhibition as they may vary.
Photographs are available upon request.
This exhibition includes new 2002 work from each of the artists.
Of particular note is a painting executed on site especially for this exhibition by Robert Ryman: Philadelphia Prototype, 2002. It is comprised of ten elements, each about 26” square, within an integral wall area thirty-seven feet wide (ten feet to a corner plus twenty-seven feet). Luminous titanium white prevails upon and past the edges of buff-colored flat vinyl panels.
We are also fortunate in this exhibition to present for the first time Joseph Marioni’s deeply hued Blue Painting, 2002 and John Zurier’s light-receptive Oblaka 61, 2002. All of the paintings from Zurier and Marioni are recent, ranging in dated from 2000 to 2002.
Scale and relation to space are elements acknowledged in the concept for this exhibition. Marioni works with scale/size/format parameters in relation to color as an integral part of each painting, and this selection covers three variations. One of John Zurier’s largest recent paintings, MAZ 3, 2000 (93”x126”) balances the proportion of surface markings to the size of the canvas as in other much smaller works here. Ryman’s painting is in the space.
Although the artists themselves are acquainted, this is the first gathering together of the work of all three. Their simultaneous presence is purposeful, allowing a mutual illumination.