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, 80h x 80w in .
© Barry Le Va. Courtesy David Nolan Gallery, New York, NY

Anne Libby, Acting Blanks, 2017, glass, wood, formica, polyethylene, powder-coated steel, mylar, 36h x 77w x 132d in.

Anne Libby, Acting Blanks (detail), 2017, glass, wood, formica, polyethylene, powder-coated steel, mylar, 36h x 77w x 132d in.

Peter Nagy, 2000 B.C. to 2000 A.D., 1990, enamel on steel, 48h x 98w in. Edition 2/3

Barry Le Va, Untitled, 1982, oil, graphite and spray paint on collaged paper, 30h x 44w in.
© Barry Le Va. Courtesy David Nolan Gallery, New York, NY

Anne Libby, Acting Blanks (detail), 2017, glass, wood, formica, polyethylene, powder-coated steel, mylar, 36h x 77w x 132d in.

Barry Le Va, Munich.Africa-Masks.Matrixes.Burials.Bunkers, 1993, photo, black spray paint and collage on paper, 22h x 30w in.
© Barry Le Va. Courtesy David Nolan Gallery, New York, NY

Peter Nagy, Eight Line Poem, 1991, acrylic on canvas, 72h x 72w in.

Barry Le Va, 9g Wagner Plan Views; Wall and Floor Installation (ICA Variations), 2004, burnt umber oil pigment on paper, 38h x 50w in.
© Barry Le Va. Courtesy David Nolan Gallery, New York, NY

Anne Libby, Tessera, 2017, seaweed, laminate, formica, powder-coated steel, 84h x 84w x 84d in.

Anne Libby, Tessera (detail), 2017, seaweed, laminate, formica, powder-coated steel, 84h x 84w x 84d in.

Peter Nagy, Was and When, 2017. Work by: Arlene Shechet, Cosmo Head, 1997, hydrocal, acrylic paint skins, concrete and steel, 18h x 7w x 7.4d in.; Ross Bleckner, Untitled, 2014, oil on linen, 32h x 16w in.; Bill Saylor, Future Cast, 2017, oil, oil pastel, pastel, graphite and charcoal on paper mounted on canvas panel, 40h x 27w in.; Joseph Kosuth, Zero & Not, offset print on paper with colored tape, 54h x 47w in.; Amritsar Rug, 20th c., wool, 36h x 72w in.; Meiji Era Merchant's Chest, 19th c., Keyaki and Sugi Wood, 40h x 47.5w x 16d in.

Peter Nagy, Was and When (alternate view), 2017. Work by: Arlene Shechet, Cosmo Head, 1997, hydrocal, acrylic paint skins, concrete and steel, 18h x 7w x 7.4d in.; Ross Bleckner, Untitled, 2014, oil on linen, 32h x 16w in.; Bill Saylor, Future Cast, 2017, oil, oil pastel, pastel, graphite and charcoal on paper mounted on canvas panel, 40h x 27w in.; Joseph Kosuth, Zero & Not, offset print on paper with colored tape, 54h x 47w in.; Amritsar Rug, 20th c., wool, 36h x 72w in.; Meiji Era Merchant's Chest, 19th c., Keyaki and Sugi Wood, 40h x 47.5w x 16d 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.

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