Nagy / Libby / Le Va

April 30–June 23 2017

Press Release Selected Press

Barry Le Va, Diagrammatic Silhouettes: Sculptured Activities (Black Stress), 1987. Ink on paper, cut and glued to ink on paper, 80 x 80 in (203.2h x 203.2w cm).
© Barry Le Va. Courtesy David Nolan Gallery, New York.
Anne Libby, Acting Blanks, 2017, Glass, wood, formica, polyethylene, powder-coated steel, mylar, 36 x 77 x 132 in (91.44h x 195.58w x 335.28d cm)
DETAIL: Anne Libby, Acting Blanks, 2017, Glass, wood, formica, polyethylene, powder-coated steel, mylar, 36 x 77 x 132 in (91.44h x 195.58w x 335.28d cm)
Peter Nagy, 2000 B.C. to 2000 A.D., 1990, Enamel on steel, 48 x 98 in (121.92h x 248.92w cm). Edition 2/3
Barry Le Va, Untitled, 1982. Oil, graphite and spray paint on collaged paper, 30 x 44 in (76.2h x 111.76w cm).
© Barry Le Va. Courtesy David Nolan Gallery, New York.
DETAIL: Anne Libby, Acting Blanks, 2017, Glass, wood, formica, polyethylene, powder-coated steel, mylar, 36 x 77 x 132 in (91.44h x 195.58w x 335.28d cm)
Barry Le Va, Munich.Africa-Masks.Matrixes.Burials.Bunkers, 1993. Photo, black spray paint and collage on paper 22 x 30 in (55.88h x 76.2w cm).
© Barry Le Va. Courtesy David Nolan Gallery, New York.
Peter Nagy, Eight Line Poem, 1991. Acrylic on canvas, 72 x 72 in (182.88h x 182.88w cm)
Barry Le Va, 9g Wagner Plan Views; Wall and Floor Installation (ICA Variations), 2004. Burnt umber oil pigment on paper, 38 x 50 inches (96.52h x 127w cm).
© Barry Le Va. Courtesy David Nolan Gallery, New York.
Anne Libby, Tessera, 2017. Seaweed, laminate, formica, powder-coated steel, 84 x 84 x 84 in (213.36h x 213.36w x 213.36d cm)
DETAIL: Anne Libby, Tessera, 2017. Seaweed, laminate, formica, powder-coated steel, 84 x 84 x 84 in (213.36h x 213.36w x 213.36d cm)
Peter Nagy, Was and When, 2017. Work by: Arlene Shechet, Cosmo Head, 1997, Hydrocal, Acrylic Paint Skins, Concrete and Steel, 18 x 7 x 7.4 in.; Ross Bleckner, Untitled, 2014, Oil on Linen, 32 x 16 in.; Bill Saylor, Future Cast, 2017, Oil, Oil Pastel, Pastel, Graphite and Charcoal on Paper mounted on Canvas Panel, 40 x 27 in.; Joseph Kosuth, Zero & Not, Offset Print on Paper with Colored Tape, 54 x 47 in.; Amritsar Rug, 20th c., Wool, 36 x 72 in.; Meiji Era Merchant's Chest, 19th c., Keyaki and Sugi Wood, 40 x 47.5 x 16 in
ALTERNATE VIEW: Peter Nagy, Was and When, 2017. Work by: Arlene Shechet, Cosmo Head, 1997, Hydrocal, Acrylic Paint Skins, Concrete and Steel, 18 x 7 x 7.4 in.; Ross Bleckner, Untitled, 2014, Oil on Linen, 32 x 16 in.; Bill Saylor, Future Cast, 2017, Oil, Oil Pastel, Pastel, Graphite and Charcoal on Paper mounted on Canvas Panel, 40 x 27 in.; Joseph Kosuth, Zero & Not, Offset Print on Paper with Colored Tape, 54 x 47 in.; Amritsar Rug, 20th c., Wool, 36 x 72 in.; Meiji Era Merchant's Chest, 19th c., Keyaki and Sugi Wood, 40 x 47.5 x 16 in

Working within self-imposed constraints, these artists develop conceptual structures to engage the dialectic of order and chaos and the intersection of logical, technical systems versus the transient subjectivity of the viewer. Formal and conceptual links can be seen across each of their practices, a reminder that ideas are cyclical. This exhibition recognizes the lasting impression artistic influence can have on subsequent generations who, in turn, reinterpret these ideas in new and unexpected ways.