max bill & georges vantongerloo. crossover

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Open: Tue-Sat 10am-6pm

32 East 69th Street, NY 10021, New York, United States
Open: Tue-Sat 10am-6pm


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max bill & georges vantongerloo. crossover

New York

max bill & georges vantongerloo. crossover
to Sat 26 Mar 2022
Tue-Sat 10am-6pm

The lifelong friendship and extended written correspondence between Swiss artist Max Bill and Belgian-born artist Georges Vantongerloo united their independent artistic and intellectual endeavors and helped to push the boundaries of their work into new aesthetic realms. Hauser & Wirth New York presents ‘crossover,’ an exhibition devoted to the two polymath’s art and ideas, at the gallery’s 69th Street location.

Artworks

Rot und grün aus blau und gelb (Red and green from blue and yellow), 1970

Oil on canvas
120 x 60.5 cm / 47 1/4 x 23 7/8 in
© 2022 ProLitteris, Zurich / Artist Rights Society (ARS), New York. Courtesy the max bill georges vantongerloo foundation and Hauser & Wirth. Collection Angela Thomas Schmid, Zumikon

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Balance mit vier gleichmächtigen farbquanten (Balance with four equal color quantities), 1973

Oil on canvas
200 x 50 cm / 78 3/4 x 19 5/8 in 203 x 53 x 4 cm / 79 7/8 x 20 7/8 x 1 5/8 in
© 2022 ProLitteris, Zurich / Artist Rights Society (ARS), New York. Courtesy the max bill georges vantongerloo foundation and Hauser & Wirth. Collection Angela Thomas Schmid, Zumikon

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Gelber neuntel (Yellow Ninth), 1959-1969

Oil on canvas
62 x 62 cm / 24 3/8 x 24 3/8 inches 63.5 x 63.5 x 3 cm / 25 x 25 x 1 1/8 in (framed)
© 2022 ProLitteris, Zurich / Artist Rights Society (ARS), New York. Courtesy the max bill georges vantongerloo foundation and Hauser & Wirth. Collection Angela Thomas Schmid, Zumikon. Photo: Jon Etter

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Konstruktion aus zwei kugelförmigen ringen, 1965

Montorfano granite
37.5 x 27.5 x 33.5 cm / 14 3/4 x 10 7/8 x 13 1/4 in
© 2022 ProLitteris, Zurich / Artist Rights Society (ARS), New York. Courtesy the max bill georges vantongerloo foundation and Hauser & Wirth. Collection Angela Thomas Schmid, Zumikon. Photo: Jon Etter

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Unendliche schleife (Endless Ribbon), Conceived 1935-1953 (executed 2015)

Black granite
Sculpture: 115.5 x 125 x 81 cm / 45 1/2 x 49 1/4 x 31 7/8 in
© 2022 ProLitteris, Zurich / Artist Rights Society (ARS), New York. Courtesy the max bill georges vantongerloo foundation and Hauser & Wirth. Collection Angela Thomas Schmid, Zumikon. Photo: Thomas Barratt

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System mit vier gleichen farbquanten (System with Four Equal Colour Quanta), 1970

Oil on canvas
75 x 180 cm / 29 1/2 x 70 7/8 in 76.5 x 181.5 x 4 cm / 30 1/8 x 71 1/2 x 1 5/8 in (framed)
© 2022 ProLitteris, Zurich / Artist Rights Society (ARS), New York. Courtesy the max bill georges vantongerloo foundation and Hauser & Wirth. Collection Angela Thomas Schmid, Zumikon

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Composition émanante de l’ovoïde (Composition from the Ovoid), 1917

Mahogany painted
16.5 x 6.5 x 6.5 cm / 6 1/2 x 2 1/2 x 2 1/2 in
© 2022 ProLitteris, Zurich / Artist Rights Society (ARS), New York. Courtesy the max bill georges vantongerloo foundation and Hauser & Wirth. Collection Angela Thomas Schmid, Zumikon. Photo: Jon Etter

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Construction dans la sphère (Construction within a Sphere), 1917

Bronze
17.2 x 16.2 x 11 cm / 6 3/4 x 6 3/8 x 4 3/8 in
© 2022 ProLitteris, Zurich / Artist Rights Society (ARS), New York. Courtesy the max bill georges vantongerloo foundation and Hauser & Wirth. Collection Angela Thomas Schmid, Zumikon. Stefan Altenburger Photography Zürich

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Variation sur le carré inscrit et le carré circonscrit d'un cercle, 1929

Cement, painted
28.5 x 52 x 19 cm / 11 1/4 x 20 1/2 x 7 1/2 in
© 2022 ProLitteris, Zurich / Artist Rights Society (ARS), New York. Courtesy the max bill georges vantongerloo foundation and Hauser & Wirth. Collection Angela Thomas Schmid, Zumikon. Photo: Stefan Altenburger Photography Zürich

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Fission d'un noyau (Nuclear fission), 1948

Oil on masonite
24.3 x 30.3 cm / 9 5/8 x 11 7/8 in 36.1 x 42.1 x 6 cm / 14 1/4 x 16 5/8 x 2 3/8 in (framed)
© 2022 ProLitteris, Zurich / Artist Rights Society (ARS), New York. Courtesy the max bill georges vantongerloo foundation and Hauser & Wirth. Collection Angela Thomas Schmid, Zumikon. Photo: Stefan Altenburger Photography Zürich

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Révolution (Revolution), 1946

Nickel wire
21.2 x 20 x 20.5 cm / 8 3/8 x 7 7/8 x 8 1/8 in
© 2022 ProLitteris, Zurich / Artist Rights Society (ARS), New York. Courtesy the max bill georges vantongerloo foundation and Hauser & Wirth. Collection Angela Thomas Schmid, Zumikon. Photo: Stefan Altenburger Photography Zürich

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Couleurs dans l'espace (Colours in Space), 1951

Plexiglas, oil paint
78.5 x 57 x 26 cm / 30 7/8 x 22 1/2 x 10 1/4 in
© 2022 ProLitteris, Zurich / Artist Rights Society (ARS), New York. Courtesy the max bill georges vantongerloo foundation and Hauser & Wirth. Collection Angela Thomas Schmid, Zumikon. Photo: Jon Etter

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Vantongerloo was, together with Piet Mondrian, a key member of the Dutch art movement de stjil. Bill, a former student of the Bauhaus, was deeply involved with the Paris-based abstraction-création artist collective beginning in 1933, a group that Vantongerloo was also a member of since 1931. The two first met in 1935 and felt an immediate appreciation and respect for each other’s distinct artistic practice. This bond would continue throughout their lifetime and influence subsequent generations of artists and thinkers.

On the occasion of the exhibition, Hauser & Wirth Publishers is pleased to present ‘A Subversive Gleam: Max Bill and his Time. 1908–1939,’ the first volume of a comprehensive Max Bill monograph by Dr. Angela Thomas Schmid – art historian and widow of the artist – translated into English for the first time.

‘crossover’ highlights the lasting achievements of Bill and Vantongerloo through an in-depth selection of paintings and sculptures, some of which are being shown in the United States for the first time since their major American traveling retrospectives in 1974-1975 and 1980-1981, respectively. The exhibition’s title not only refers to the artists’ relationship with each other, but also to the prolific and numerous connections and exchanges they had within the American art scene, and their lasting impact on art movements like minimalism. Curated by Dr. Angela Thomas Schmid, President of the max bill georges vantongerloo foundation, this presentation reveals how the progress of their extraordinary and constantly evolving creative exchange mirrors the artistic breakthroughs that defined the 20th century, particularly in the field of concrete art – which would echo throughout Latin America, in particular Argentina and Brazil, and support the development of many forward-thinking artists including Lidy Prati and her husband Tomás Maldonado, Almir Mavignier, Mary Vieira, Lygia Pape, Lygia Clark and Hélio Oiticica. Their approach stemmed from mathematics and modern scientific theories, but also allowed for the possibility of beauty and the role of intuition. This was expressed through their deep interest in the notions of continuity and infinity, as exemplified by works such as Bill’s ‘unendliche schleife’ (Endless Ribbon) (conceived 1935-1953 (executed 2015)) or Vantongerloo’s ‘Révolution’ (Revolution) (1946).

Despite the bias towards European contemporary art in New York following World War II, Bill and Vantongerloo’s crossovers continued through relationships with gallerists and collectors Hilla von Rebay, Peggy Guggenheim, Madeleine Chalette Lejwa and Rose Fried, and encounters with artists like Donald Judd, Andy Warhol, and Ellsworth Kelly, who visited both Vantongerloo’s Paris studio and Bill’s exhibition at Galerie Denise René in 1950. Bill’s first solo exhibition in the United States, at the Staempfli Gallery in New York, caught the eye of artist Donald Judd in 1963, who then singled him out for a review in Arts Magazine. But it was Bill’s traveling retrospective, organized by the Albright Knox Art Gallery in 1974, that would earn him the most critical acclaim stateside, with positive reviews from the Los Angeles Times and TIME magazine, which called it ‘a revelation.’

After Vantongerloo’s death, Bill continued his work as an ardent advocate of his friend’s profound influence and legacy of innovation, helping to organize a travelling retrospective with the Corcoran Gallery in Washington D.C. The New York Times reviewed the show, writing Vantongerloo ‘was a pioneer in creating the conventions of the kind of minimal art that continues to command a large following among living artists.’ More than forty years later, ‘crossover’ reintroduces an American audience to the two remarkable artists’ pioneering contributions to the history of modern art.

© 2022 ProLitteris, Zurich / Artist Rights Society (ARS), New York. Courtesy the max bill georges vantongerloo foundation and Hauser & Wirth. Collection Angela Thomas Schmid, Zumikon. Photo: Thomas Barratt


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