December 17–February 9, 2007
Sarah Braman, Todd Chilton, and John McEnroe
Events are free, but space is limited—register to secure your spot.
Sarah Braman, Todd Chilton, and John McEnroe are select contemporary artists whose work continues the distinct trajectory of late Modernist painting. During the 1950s, 60s, and 70s painting was being boiled down to its essence – its consistency, color, and a flat support on which to place the paint. Artists were abandoning representational subject matter in favor dripping paint, color fields, and geometric abstraction.
The artists in Young Moderns utilize the theory and techniques of late Modernist painting in their work. Sarah Braman’s sculptural work utilizes the flat surfaces of cardboard, Plexiglas, and plywood as grounds for her scumbled paint marks. She places these supports for her paint together at various angles to create sculptures whose surfaces are treated as paintings.
Todd Chilton’s pared down subject matter and use of geometric forms is akin to the work of Frank Stella or Kenneth Noland. Chilton’s abstractions do not try to hide that a human hand made his paintings, bestowing his paintings with a wry sense of humor that winks at history while creating new forms with the tools history gave him.
John McEnroe strips his works of all materials but paint. McEnroe pours and drips paint across a slab, allows it to dry, then peels the paint. These “paintings” look like curtains or skinned beasts that hover somewhere between a painting and a sculpture.
These three “painters” use the theories and practices of late Modernism as a springboard to create smart works that seem unconcerned with their status as painting, sculpture, or conceptual exercises.