Sol LeWitt, Drawing Series I,II,III,IIII (Drawings for Xerox Book) 24 Drawings (1968), via Art Observed

In 1968, a group of artists interested in the material limits of art practice, and the interrelations between text, language and action launched The Xerox Book, a published art book culling contributions from Carl Andre, Robert Barry, Douglas Huebler, Joseph Kosuth, Sol LeWitt, Robert Morris, and Lawrence Weiner to be printed and copied as an easily distributed art work.  Presented at Paula Cooper’s 21st Street Location in New York, The Xerox Book is a return to this landmark publication, incorporating a series of works and objects drawn from or inspired by each artist’s contributions.

The Xerox Book (Installation View) © Paula Cooper Gallery, New York, Photo: Steven Probert

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All photos on site for Art Observed by Ilhan Kim.

Abstract artist Dan Walsh, known for his colorful geometric paintings, is currently presenting new works at the Paula Cooper Gallery in New York. Walsh hails from the minimalist tradition, however, the artist now considers himself to be a “maximalist” in the sense that the simple repetition and grid-like patterns of his work embrace the qualities of minimalism yet engage the viewer in a deeper psychological sense.

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‪‬120 early Sol Lewitt photos displayed permanently on exterior walls of Mondrian SoHo hotel [AO Newslink]

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Installation view of Elemental at Paula Cooper Gallery. All images via Paula Cooper Gallery.

On view now through April 16th at the Paula Cooper Gallery is a group exhibition titled Elemental. What binds the selected works of Carl Andre, Jennifer Bartlett, Donald Judd, Sherrie Levine, Sol LeWitt and Robert Wilson is the use of “repeated elements arranged in a sequential structure.” The gallery notes that this strategy is often associated with minimal art, and the show pairs pieces by three pioneers of Minimalism with works by what the exhibition is defining as representatives of the second (and possibly third) generation of Minimalists.

Donald Judd, Untitled (1982)

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Christian Marclay, The Clock (still), 2010. Via River00000

Debuting at White Cube this past October (and already covered by AO), Christian Marclay‘s The Clock has been warmly accepted in New York at the Paula Cooper Gallery, with several 24-hour screenings throughout the exhibition, through February 19th. Splicing together a day’s worth of found film, the artist and six assistants spent two years on the project, drawing from classics like “Great Expectations” and “Mary Poppins,” to more recent films like “Tomb Raider.” Every single clip makes reference to the time—moving in realtime—with clocks synced to the actual time of New York (or wherever it’s showing). The highly acclaimed work is to be included in the British Art Show 7, a group exhibition ran only every five years, touring to the Hayward Gallery, Tramway-Glasgow, and Plymouth Art Centre later this year.

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Dan Flavin, untitled (to Barry, Mike, Chuck and Leonard), 1972-1975. All images by Art Observed.

The current exhibition of early works by Dan Flavin at Paula Cooper Gallery offers a concise exploration into the artist’s experiments with the effect of colored light on architectural space. A 1960s minimalist, Flavin’s works realize the infinite possibilities inherent in the simple gesture of a florescent light in a gallery, which, despite a limited vocabulary, create varied optical and experiential situations. Flavin’s works confound the way that art is viewed by testing the limitations of opticality while stressing color as a medium in its own right. Instead of the viewer looking at a two dimensional object with painted colors, Flavin brings the color to the viewer, aggressively inserting his color combinations into the viewer’s eyes. That is, instead of the art reflecting color, it is emitting the color as light. If the purpose of art is to look, to see, to contemplate a visual object, then Flavin’s art frustrates this standard notion by making it difficult to look directly at the art object itself. This difficulty of viewing the art object directly causes the viewer to notice the effect of light and color on objects, thereby implicating the architectural space within the work. The works thereby occupy every part of the room, using the unusable spaces of a gallery–the corners and the floors, spaces incapable of displaying artworks.

Dan Flavin, untitled (to Barry, Mike, Chuck and Leonard), 1972-1975.

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Sophie Calle, Photograph by Jean-Baptiste Mondino, courtesy the Louisiana Museum of Modern Art.

Currently on view, through October 24th, at the Louisiana Museum of Modern Art in Denmark is a new exhibition from Sophie Calle. One of France’s most well known contemporary artists, Calle has most recently made her imprint on New York with her 2009 exhibition at the Paula Cooper Gallery with “Take Care of Yourself,” a body of work created for the French Pavilion of the 2007 Venice Biennale.

Organized by Whitechapel Gallery, London in collaboration with the Louisiana Museum of Modern Art and De Pont Museum of Contemporary Art in Tilburg, Holland, Louisiana Contemporary: Sophie Calle presents a number of playful works from 1979-2009, which blur the line between art and reality. Dabbling in adult affairs with the demeanor of an innocent, playing child, Calle often takes on the role of an undercover detective. Her conceptual works entice viewers with undertones of voyeurism, humour and subtlety.

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Installation shot, courtesy The Louisiana Museum of Modern Art.

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