Fitzroy Gallery is pleased to announce a group exhibition entitled Shelf Ramp Wedge Bridge/1, which explores issues of space and subjectivity within the legacy of Minimal Art. Organized by Jeffrey Uslip, the exhibition is a curatorial inquiry that applies Minimalist principles, tendencies and subjective interventions to mechanical, geometric and architectural structures. In the context of Shelf Ramp Wedge Bridge/1, the work of Chris Burden, Simone Forti, Sol LeWitt, Haim Steinbach and Lawrence Weiner questions semiotic, social, and art historical implications of the shelf, the ramp, the wedge and the bridge in contemporary visual culture.
This exhibition’s historical narrative juxtaposes Sol LeWitt’s geometric wall drawings with Haim Steinbach’s un-color becomes alter ego (1984). LeWitt’s Wall Drawing #238 (1974), articulates the mathematically precise location of a parallelogram in space and time, whereas Steinbach’s un-color becomes alter ego is an arrangement of cultural objects on a colored Formica shelf. LeWitt’s Wall Drawing #238, in dialogue with Steinbach’s un-color becomes alter ego, proposes the material and spiritual presence of the artist’s hand. The material physicality of LeWitt’s crayon and pencil geometric inscription, in relation to Steinbach’s organization of commodified objects, are each imbued with subjective significance.
Chris Burden’s Indo-China Bridge (2002) is an architectural replica fashioned from serially reproduced, polished stainless steel Mysto Type I Erector-set parts. Repurposing these playful, childhood building units, Burden’s architectural system of girders and rivets construct a mathematically advanced box beam design.
Simone Forti’s dance construction Slant Board (1961) is presented by the artist as both sculpture and choreography for the first time. Video documentation from Slant Board at the Museum of Contemporary Art, Los Angeles (2004) is projected directly onto the ramp. In Slant Board, dancers manipulate and engage their bodies on the structure’s steep incline with knotted ropes; the dancers movements are contingent on the prescriptive impositions of the ramp’s geometry and material. Lawrence Weiner’s 1988/89 construction of “language + materials referred to” asserts the phrase TILES PILED UPON MORTAR PILED UPON TILES. Weiner’s typology of language, TILES PILED UPON MORTAR PILED UPON TILES, visualizes the construction of architectural structures, both monumental and funerary in tone.
Slant Board will be performed at Fitzroy Gallery on Thursday, April 14 at 7pm. Space is limited.
The exhibition will be open to the public Saturday, March 26 and will remain on view through Saturday, April 30. There will be an opening reception on Thursday, March 26 from 6 – 8 pm. Fitzroy Gallery is located at 77 Mercer Street, between Spring and Broome Streets, in SoHo. The gallery is open Tuesday through Saturday from 11 AM to 6 PM. For further information, please call 212.343.8670 or email firstname.lastname@example.org.