Robert Huot: Systemic Painting

Robert Huot: Systemic Painting

nine gray by robert huot

Robert Huot

Nine gray, 1968

intallation view by robert huot

Robert Huot

Intallation view

the color of meetings by robert huot

Robert Huot

The color of meetings, 1968

installation view by robert huot

Robert Huot

Installation view

installation view by robert huot

Robert Huot

Installation view

leeward traffic by robert huot

Robert Huot

Leeward Traffic, 1966

Saturday, October 27, 2012Friday, February 1, 2013


Zurich, Switzerland

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