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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.

Brice Marden

Photo: Mirabelle Marden

Fairs, Events & Announcements

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

Brice Marden, Untitled (Hydra), 2018 © 2018 Brice Marden/Artists Rights Society (ARS), New York. Photo: Bill Jacobson

Performance

Brice Marden
Bard SummerScape 2018

July 6–8, 2018
Richard B. Fisher Center for the Performing Arts, Bard College, Annandale-on-Hudson, New York
fishercenter.bard.edu

Brice Marden is collaborating with choreographer Pam Tanowitz and composer Kaija Saariaho to present the world premiere of Four Quartets, the first-ever authorized dance performance based on T. S. Eliot’s modernist masterpiece from 1943. All three collaborators share Eliot’s gift for abstraction and furthermore, like the poet, all three artists combine a conceptual approach with a profound feel for the personal. To attend the event, purchase tickets at fishercenter.bard.edu.

Brice Marden, Untitled (Hydra), 2018 © 2018 Brice Marden/Artists Rights Society (ARS), New York. Photo: Bill Jacobson

John Currin, Untitled, 2018 (detail) © John Currin

Art Fair

TEFAF New York

May 4–8, 2018, booth 70
Park Avenue Armory, New York
www.tefaf.com

Gagosian is pleased to participate in TEFAF, New York, presenting new works by John Currin and Brice Marden. Portraits by Currin will be juxtaposed with multilayered, calligraphic works on paper by Marden. To receive a PDF with detailed information on the works, please contact the gallery at inquire@gagosian.com. To preview our booth go to www.artsy.net. To purchase tickets to attend the fair go to www.tefaf.com.

John Currin, Untitled, 2018 (detail) © John Currin

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Museum Exhibitions

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

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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

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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

Andy Warhol, Flower, 1964 © 2017 The Andy Warhol Foundation for the Visual Arts, Inc./Artists Rights Society (ARS), New York. Photo: Therese Husby, courtesy Nasjonalmuseet 

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The Great Graphic Boom

March 3–May 28, 2017
Nasjonalmuseet, Oslo
www.nasjonalmuseet.no

This exhibition explores the intense interest in graphic art among many leading artists of the postwar art period. With works from twenty-five artists, including Helen Frankenthaler, Roy Lichtenstein, Brice Marden, Bruce Nauman, Ed Ruscha, Richard Serra, Cy Twombly, and Andy Warhol, the show highlights the use of graphic media both as a refined form of expression and as an important phase in the artistic process. The exhibition has been organized with support from Staatsgalerie Stuttgart, Germany.

Andy Warhol, Flower, 1964 © 2017 The Andy Warhol Foundation for the Visual Arts, Inc./Artists Rights Society (ARS), New York. Photo: Therese Husby, courtesy Nasjonalmuseet