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Over the past several years, abstract painting has become, once again, a buzz phrase within contemporary art. Much of the buzz has been backlash: painters accused of zombie formalism, sleepwalking through hackneyed styles and gimmicks that speak to market desires. New Geometries proposes another take on contemporary artists engaging with abstraction: an abstraction that is of the world, not just of the market. The work is geometric in nature and takes its cues from Constructivism, Suprematism, and Latin American modernism—art movements that came to being in order to address the radical changes of the modern era, be they political, social, visual, or otherwise. New Geometries presents artists who use the idioms of historical modernism to speak to ideas of the present, including the parallel modernisms of indigenous cultures; art and utility; and modernism as folk art. Featured artists ask us to consider what role geometric abstraction might serve in our current non-utopian times, just over one hundred years after Kazimir Malevich and Vladmir Tatlin’s watershed exhibition, The Last Futurist Exhibition of Paintings 0.10., which featured Malevich’s iconic Black Square and Tatlin’s architectural relief sculptures—works that cast long shadows in the history of art and still resonate today.
Featuring artists Martha Clippinger, Gianna Commito, Diena Georgetti, Jeffrey Gibson, Eamon Ore-Giron, and Clare Rojas.