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Brice Marden

Brice Marden, Nebraska, 1966 Oil and wax on canvas, 58 × 72 inches (147.3 × 182.9 cm)© 2018 Brice Marden/Artists Rights Society (ARS), New York

Brice Marden, Nebraska, 1966

Oil and wax on canvas, 58 × 72 inches (147.3 × 182.9 cm)
© 2018 Brice Marden/Artists Rights Society (ARS), New York

Brice Marden, Patent Leather Valentine, 1967 Wax and graphite over pastel on paper, 16 ½ × 14 ¾ inches (41.9 × 37.5 cm)© 2018 Brice Marden/Artists Rights Society (ARS), New York

Brice Marden, Patent Leather Valentine, 1967

Wax and graphite over pastel on paper, 16 ½ × 14 ¾ inches (41.9 × 37.5 cm)
© 2018 Brice Marden/Artists Rights Society (ARS), New York

Brice Marden, Grove Group II, 1972–73 Oil and wax on canvas, in 2 parts, overall: 72 × 108 inches (182.9 × 274.3 cm)© 2018 Brice Marden/Artists Rights Society (ARS), New York

Brice Marden, Grove Group II, 1972–73

Oil and wax on canvas, in 2 parts, overall: 72 × 108 inches (182.9 × 274.3 cm)
© 2018 Brice Marden/Artists Rights Society (ARS), New York

Brice Marden, Red Yellow Blue III, 1974 Oil and wax on canvas, in 3 parts, overall: 74 × 72 inches (188 × 182.9 cm)© 2018 Brice Marden/Artists Rights Society (ARS), New York

Brice Marden, Red Yellow Blue III, 1974

Oil and wax on canvas, in 3 parts, overall: 74 × 72 inches (188 × 182.9 cm)
© 2018 Brice Marden/Artists Rights Society (ARS), New York

Brice Marden, Thira, 1979–80 Oil and wax on canvas, 18 panels assembled in 3 parts, overall: 96 × 180 inches (243.8 × 457.2 cm), Centre Pompidou, Paris© 2018 Brice Marden/Artists Rights Society (ARS), New York

Brice Marden, Thira, 1979–80

Oil and wax on canvas, 18 panels assembled in 3 parts, overall: 96 × 180 inches (243.8 × 457.2 cm), Centre Pompidou, Paris
© 2018 Brice Marden/Artists Rights Society (ARS), New York

Brice Marden, 2 (Dialog), 1987–88 Oil on linen, 84 × 60 inches (213.4 × 152.4 cm)© 2018 Brice Marden/Artists Rights Society (ARS), New York

Brice Marden, 2 (Dialog), 1987–88

Oil on linen, 84 × 60 inches (213.4 × 152.4 cm)
© 2018 Brice Marden/Artists Rights Society (ARS), New York

Brice Marden, Cold Mountain 6 (Bridge), 1989–91 Oil on linen, 108 × 144 inches (274.3 × 365.8 cm), San Francisco Museum of Modern Art© 2018 Brice Marden/Artists Rights Society (ARS), New York

Brice Marden, Cold Mountain 6 (Bridge), 1989–91

Oil on linen, 108 × 144 inches (274.3 × 365.8 cm), San Francisco Museum of Modern Art
© 2018 Brice Marden/Artists Rights Society (ARS), New York

Brice Marden, 2 Red Rocks 3, 2000/02 Kremer ink on L’Aquarelle paper, 14 ⅞ × 20 inches (37.8 × 50.8 cm)© 2018 Brice Marden/Artists Rights Society (ARS), New York

Brice Marden, 2 Red Rocks 3, 2000/02

Kremer ink on L’Aquarelle paper, 14 ⅞ × 20 inches (37.8 × 50.8 cm)
© 2018 Brice Marden/Artists Rights Society (ARS), New York

Brice Marden, Dragons, 2000–04 Ink on paper, 40 ½ × 29 ¾ inches (102.9 × 75.6 cm)© 2018 Brice Marden/Artists Rights Society (ARS), New York

Brice Marden, Dragons, 2000–04

Ink on paper, 40 ½ × 29 ¾ inches (102.9 × 75.6 cm)
© 2018 Brice Marden/Artists Rights Society (ARS), New York

Brice Marden, Blue Sutra Drawing, 2010 Kremer ink on paper, 30 ⅛ × 41 inches (76.5 × 104.1 cm)© 2018 Brice Marden/Artists Rights Society (ARS), New York

Brice Marden, Blue Sutra Drawing, 2010

Kremer ink on paper, 30 ⅛ × 41 inches (76.5 × 104.1 cm)
© 2018 Brice Marden/Artists Rights Society (ARS), New York

Brice Marden, Early Seasons, 2010–11 Kremer ink on Rives BFK paper, in 4 parts, overall: 17 ½ × 52 ¼ inches (44.5 × 132.7 cm)© 2018 Brice Marden/Artists Rights Society (ARS), New York

Brice Marden, Early Seasons, 2010–11

Kremer ink on Rives BFK paper, in 4 parts, overall: 17 ½ × 52 ¼ inches (44.5 × 132.7 cm)
© 2018 Brice Marden/Artists Rights Society (ARS), New York

Brice Marden, Helen’s Immediately, 2011 Oil on marble, 19 ½ × 31 ½ inches (49.5 × 80 cm)© 2018 Brice Marden/Artists Rights Society (ARS), New York

Brice Marden, Helen’s Immediately, 2011

Oil on marble, 19 ½ × 31 ½ inches (49.5 × 80 cm)
© 2018 Brice Marden/Artists Rights Society (ARS), New York

Brice Marden, Polke Letter, 2010–11 Oil on linen, 72 × 96 inches (182.9 × 243.8 cm)© 2018 Brice Marden/Artists Rights Society (ARS), New York

Brice Marden, Polke Letter, 2010–11

Oil on linen, 72 × 96 inches (182.9 × 243.8 cm)
© 2018 Brice Marden/Artists Rights Society (ARS), New York

Brice Marden, African Drawing 17, 2011–12 Kremer ink and Kremer white shellac ink on Rives BFK paper, 14 ⅞ × 11 ⅛ inches (37.8 × 28.3 cm)© 2018 Brice Marden/Artists Rights Society (ARS), New York

Brice Marden, African Drawing 17, 2011–12

Kremer ink and Kremer white shellac ink on Rives BFK paper, 14 ⅞ × 11 ⅛ inches (37.8 × 28.3 cm)
© 2018 Brice Marden/Artists Rights Society (ARS), New York

Brice Marden, Nevis Stele 4, 2007–15 Oil on linen, 60 × 36 inches (152.4 × 91.4 cm)© 2018 Brice Marden/Artists Rights Society (ARS), New York

Brice Marden, Nevis Stele 4, 2007–15

Oil on linen, 60 × 36 inches (152.4 × 91.4 cm)
© 2018 Brice Marden/Artists Rights Society (ARS), New York

Brice Marden, Uphill with Center, 2012–15 Oil on linen, in 5 parts, overall: 48 × 192 inches (121.9 × 487.7 cm)© 2018 Brice Marden/Artists Rights Society (ARS), New York

Brice Marden, Uphill with Center, 2012–15

Oil on linen, in 5 parts, overall: 48 × 192 inches (121.9 × 487.7 cm)
© 2018 Brice Marden/Artists Rights Society (ARS), New York

Brice Marden, Eastern Moss, 2012–15 Oil on linen, in 9 parts, overall: 24 × 162 inches (61 × 411.5 cm)© 2018 Brice Marden/Artists Rights Society (ARS), New York

Brice Marden, Eastern Moss, 2012–15

Oil on linen, in 9 parts, overall: 24 × 162 inches (61 × 411.5 cm)
© 2018 Brice Marden/Artists Rights Society (ARS), New York

Brice Marden, Blockx, 2016–17 Oil on linen, 96 ⅛ × 72 inches (244 × 182.9 cm)© 2018 Brice Marden/Artists Rights Society (ARS), New York

Brice Marden, Blockx, 2016–17

Oil on linen, 96 ⅛ × 72 inches (244 × 182.9 cm)
© 2018 Brice Marden/Artists Rights Society (ARS), New York

Brice Marden, Marrakech Drawing 6, 2017–18 Kremer ink and Kremer white shellac ink on Howell paper, 17 ⅛ × 12 ⅝ inches (43.5 × 32.1 cm)© 2018 Brice Marden/Artists Rights Society (ARS), New York

Brice Marden, Marrakech Drawing 6, 2017–18

Kremer ink and Kremer white shellac ink on Howell paper, 17 ⅛ × 12 ⅝ inches (43.5 × 32.1 cm)
© 2018 Brice Marden/Artists Rights Society (ARS), New York

Brice Marden, Santorini 2, 2010–18 Oil on linen, 75 ⅛ × 53 ½ inches (190.8 × 135.9 cm)© 2018 Brice Marden/Artists Rights Society (ARS), New York

Brice Marden, Santorini 2, 2010–18

Oil on linen, 75 ⅛ × 53 ½ inches (190.8 × 135.9 cm)
© 2018 Brice Marden/Artists Rights Society (ARS), New York

About

Ultimately I’m using the painting as a sounding board for the spirit. . . . You can be painting and go into a place where thought stops—where you can just be and it just comes out. . . . I present it as an open situation rather than a closed situation. 
—Brice Marden

Brice Marden continuously refines and extends the traditions of lyrical abstraction. Experimenting with self-imposed rules, limits, and processes, and drawing inspiration from his extensive travels, Marden brings together the diagrammatic formulations of Minimalism, the immediacy of Abstract Expressionism, and the intuitive gesture of calligraphy in his exploration of gesture, line, and color.

In 1963 Marden received an MFA from Yale University’s School of Art and Architecture, where his teachers included the painters Alex Katz and Jon Schueler. After graduation he worked as a guard at the Jewish Museum in New York. There, during a 1964 Jasper Johns retrospective, Marden studied Johns’s early works extensively and considered them in relation to the Baroque masters he has long admired, such as Francisco de Zurbarán, Francisco Goya, and Diego Velázquez. Marden’s works from the 1960s include subtle, shimmering monochromes in gray tones, sometimes assembled canvases into multipanel works, in a manner similar to the black paintings and White Paintings of Robert Rauschenberg, who hired Marden as a studio assistant in 1966.

A trip to Greece in the early 1970s led Marden to create the Hydra paintings (1972), which capture the turquoise hues of the Mediterranean, and Thira (1979–80), a painting composed of eighteen interconnected panels inspired by the shadows and geometry of ancient temples. To heighten the effect of each color, plane, and brushstroke, Marden developed the unique process of adding beeswax and turpentine to oil paint and applying the mixture in many thin layers. Marden employed this technique for the Grove Group paintings (1972–76)—exhibited at Gagosian’s Madison Avenue gallery in New York in 1991, along with related works—and the Red Yellow Blue paintings (1973–74)—five permutations of the primary trio—which were united for the first time since their making at Gagosian, 980 Madison Avenue, New York in 2013.

In the 1980s Marden began to incorporate organic, intersecting lines, creating rhythmic patterns over fields of color. He has been exploring these winding lines ever since, experimenting with blank space, erasure, and references to the natural world. He seeks to create a mystical experience through the creation of elusive abstract spaces. As his many themes and techniques have overlapped, Marden has sought to bring them together in cohesive, often multipart works, which he has described as his “summation paintings.” Among them is The Propitious Garden of Plane Image, Third Version (2000–06), held in the collection of the Museum of Modern Art in New York, where he had his first comprehensive retrospective in 2006.

In recent years Marden has continued his exploration of the qualities of monochrome. This engagement with muted colors has informed new calligraphic drawings and works on canvas, such as the Nevis Stele paintings (2007–15), inspired by Chinese stone carvings from the late eighth century. In 2017 he turned his gaze to the expansive possibilities of terre verte (green earth), an iron silicate clay pigment, which he first used in the Grove Group. His new paintings incorporate many different brands of terre verte, each a variation on the indefinable hue. Marden thins his slow-drying paint and applies it gradually to the canvas in many successive layers, leaving a visible residue of the painting process at the lower edge of each canvas.

Fairs, Events & Announcements

Installation view, A line (a)round an idea: Selected Works on Paper, Gagosian, Geneva, May 2–July 27, 2019. Artwork, left to right: © Cy Twombly Foundation; © 2019 Richard Artschwager/Artists Rights Society (ARS), New York; © 2019 The Franz Kline Estate/Artists Rights Society (ARS), New York; © Richard Serra; © 2019 Dedalus Foundation, Inc./Licensed by VAGA at Artists Rights Society (ARS), New York

Tour

A line (a)round an idea
Selected Works on Paper

Saturday, June 22, 2019, 11am
Gagosian, Geneva

This event has been canceled.

Join us for a tour of A line (a)round an idea at Gagosian, Geneva. The exhibition, which presents black-and-white works on paper spanning a period of seventy years, includes work by Richard Artschwager, Georg Baselitz, Bruce Conner, Willem de Kooning, Günther Förg, Sam Francis, Keith Haring, Christine Hiebert, Hans Hofmann, Franz Kline, Brice Marden, Henri Matisse, Robert Motherwell, Ad Reinhardt, Richard Serra, Cy Twombly, Andy Warhol, Tom Wesselmann, and others. Gagosian’s Johan Nauckhoff will give an overview of the exhibition, focusing on ways in which modern and contemporary artists have explored the clarity and activating power of the simple line, mark, splatter, or stroke. To attend the free event, RSVP to genevatours@gagosian.com. Space is limited.

Installation view, A line (a)round an idea: Selected Works on Paper, Gagosian, Geneva, May 2–July 27, 2019. Artwork, left to right: © Cy Twombly Foundation; © 2019 Richard Artschwager/Artists Rights Society (ARS), New York; © 2019 The Franz Kline Estate/Artists Rights Society (ARS), New York; © Richard Serra; © 2019 Dedalus Foundation, Inc./Licensed by VAGA at Artists Rights Society (ARS), New York

Premiere of Four Quartets at the Richard B. Fisher Center for the Performing Arts, Bard College, Annandale-on-Hudson, New York, July 6–8, 2018. Photo: Maria Baranova

Performance

Brice Marden
Four Quartets

May 22–25, 2019
Barbican Theatre, London
barbican.org.uk

Brice Marden is collaborating with choreographer Pam Tanowitz and composer Kaija Saariaho to present Four Quartets, a titular dance performance based on T. S. Eliot’s modernist masterpiece from 1943. The evocative stage design centers on paintings by Marden, their exquisite colors and strokes making connections to the geographical locations of the masterpiece’s four individual parts. Containing piercing and unforgettable literary passages, this unprecedented collaborative performance of the work is the first to be authorized by the T. S. Eliot Estate. To attend the event, purchase tickets at barbican.org.uk.

Premiere of Four Quartets at the Richard B. Fisher Center for the Performing Arts, Bard College, Annandale-on-Hudson, New York, July 6–8, 2018. Photo: Maria Baranova

Ed Ruscha, Even Though He’s Light Years Away, His Heart Belongs to Me, 1963 © Ed Ruscha

Art Fair

Seattle Art Fair

August 2–5, 2018, booth A09
CenturyLink Field Event Center, Seattle
www.seattleartfair.com

Gagosian is pleased to present Out of This World: Artists Explore Space, a booth curated by Larry Gagosian for the 2018 Seattle Art Fair. The presentation gathers works that reveal artistic and scientific explorations of the cosmos. Featured artists include Richard Avedon, Andisheh Avini, Chris Burden, Alexander Calder, Vija Celmins, Ellen Gallagher, Andreas Gursky, Damien Hirst, Neil Jenney, Mike Kelley, Yves Klein, Vera Lutter, Brice Marden, Marc Newson, Nam June Paik, Thomas Ruff, Ed Ruscha, Tom Sachs, Taryn Simon, Yves Tanguy, and Andy Warhol, among others.

To receive a PDF with detailed information on the works, please contact the gallery at inquire@gagosian.com. To attend the fair, purchase tickets at seattleartfair.com.

Ed Ruscha, Even Though He’s Light Years Away, His Heart Belongs to Me, 1963 © Ed Ruscha

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Museum Exhibitions

Brice Marden, Cold Mountain Study (29), 1988–91 © 2019 Brice Marden/Artists Rights Society (ARS) New York. Photo: Jochen Littkemann

Closed

Brice Marden
Cold Mountain Studies

June 9–August 11, 2019
“T” Space, Rhinebeck, New York
tspacerhinebeck.org

The thirty-five Cold Mountain drawings on display were key creative experiments leading toward Brice Marden’s widely acclaimed Cold Mountain paintings of the late 1980s. Marden has credited the ninth-century Chinese monk and poet Hanshan (“Cold Mountain”) and translator Bill Porter with inspiring his stylistic shift from monochrome to calligraphic painting.

Brice Marden, Cold Mountain Study (29), 1988–91 © 2019 Brice Marden/Artists Rights Society (ARS) New York. Photo: Jochen Littkemann

Brice Marden, Helen’s Moroccan Painting, 1980 © 2019 Brice Marden/Artists Rights Society (ARS), New York

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Brice Marden
Morocco

February 22–March 12, 2019
Musée Yves Saint Laurent, Marrakech, Morocco
www.museeyslmarrakech.com

The Musée Yves Saint Laurent, Marrakech, is exploring the long-standing influence of Morocco on Brice Marden’s work. The primary focus of the exhibition is Marden’s extensive output of works on paper, more than sixty of which are on view here: Among these are forty-eight works that were once contained in a workbook that the artist used over the past decade of his travels. Marden spent some of this time in Morocco, where, since 2015, he has worked part of the year. The exhibition includes one painting: Helen’s Moroccan Painting (1980), its colors inspired by the green of the valleys and the red of the earth as witnessed by the artist during a January 1978 trip driving from Ouarzazate.

Brice Marden, Helen’s Moroccan Painting, 1980 © 2019 Brice Marden/Artists Rights Society (ARS), New York

Brice Marden, Moon III, 1977, Daros Collection, Switzerland © 2018 Brice Marden/Artists Rights Society (ARS), New York

Closed

Brice Marden in
Nature + Abstraction

May 22–August 12, 2018
Fondation Beyeler, Riehen/Basel
www.fondationbeyeler.ch

This exhibition shows how themes of abstraction are explored by artists whose investigations of nature and its varied perceptions play a major role in their work. The central room is dedicated to Brice Marden, whose exceptionally clear and seemingly simple paintings are deeply influenced by his personal interests and fascination with nature, light, and color.

Brice Marden, Moon III, 1977, Daros Collection, Switzerland © 2018 Brice Marden/Artists Rights Society (ARS), New York

Brice Marden, Untitled, 1988–91 © Brice Marden/Artist Rights Society (ARS), New York

Closed

The Beginning of Everything
Drawings from the Janie C. Lee, Louisa Stude Sarofim, and David Whitney Collections

February 24–June 18, 2017
The Menil Collection, Houston
www.menil.org

In anticipation of the October 2017 opening of the Menil Drawing Institute, the museum is exhibiting a selection of drawings spanning the mid-nineteenth to the late twentieth century. The show highlights promised gifts from the collections of Janie C. Lee and Louisa Stude Sarofim, as well as works from David Whitney’s 2005 bequest, which include those by Balthus, Georg Baselitz, Helen Frankenthaler, Alberto Giacometti, Anselm Kiefer, Brice Marden, Bruce Nauman, Richard Serra, Cy Twombly, and Rachel Whiteread.

Brice Marden, Untitled, 1988–91 © Brice Marden/Artist Rights Society (ARS), New York

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