xyz: the geometric impulse in abstract art

XYZ: The Geometric Impulsein Abstract art

Linda Besemer

Claude Collins-Stracensky

Mark Hagen

Jessica Halonen

Hadley Holliday

Emily Joyce

Dennis KochJessica Mallios

Brad Tucker

Krysten Cunningham

Dennis Koch

XYZ: The Geometric Impulsein abstract art

Linda Besemer

Krysten CunninghamMark Hagen

Jessica HalonenHadley Holliday

Emily Joyce

Jessica MalliosBrad Tucker


September 22 - November 3, 2012organized by Jessica Halonen & Emily Joyce

3320 Civic Center DriveTorrance CA 90503

Foreward

From Russian Constructivism to Sol LeWitt and beyond, there is a broad history of systematically produced non-objective abstraction. Geometric abstraction has provided a surprisingly flexible methodology that allows for artistic investigations in many directions. X Y Z: The Geometric Impulse in Abstract Art presents the work of ten contemporary artists whose practices explore this rich thread in the history of abstraction.

Composed of lines and shapes, using repetition and symmetry, the artworks in the exhibition have a sense of ordered purposefulness that is logical but not rigid. Each piece is characterized by the presence of subtle irregularities and imperfections in conversation with the vocabulary of geometry. Influenced by a range of universal subjects including the fourth dimension, biological systems, and the matrix of perception, the artists in this exhibition use geometry to investigate fundamental physical, natural, metaphysical or spiritual questions of the unknown.

We would like to extend a warm thank you to the participating artists, Linda Besemer, Claude Collins-Stracensky, Krysten Cunningham, Mark Hagen, Hadley Holliday, Dennis Koch, Jessica Mallios and Brad Tucker. We are also grateful to Kurt Mueller for his thoughtful conversation about this exhibition and his wonderful resulting essay. Finally, we would like to thank the Torrance Art Museum for supporting XYZ, especially Max Presneill and Jason Ramos.

Jessica Halonen & Emily Joyce

Geometric Impulses Kurt Mueller

1. Model X

In the study of geometry the letters “X”, “Y”, and “Z” commonly denote the trio of axes that articulate a Cartesian model of 3D space. Each pair of axes defines a plane perpendicular to the re-maining axis. X, Y, and Z, given numeri-cal values, also provide coordinates. They mark a point in space in relation to these planes and their intersecting origin. These relations, or distances further convey dimensions: length (X), width (Y), and depth (Z). Anyone who has rendered an architectural model with SketchUp or measured a box for shipment has put these principles into practice. From these basic relationships geometri-cians have extrapolated axioms by which one can determine everything from the path of a planet across the sky to the volume of a hot tub. This is solid Eu-clidian geometry, which is the way we understood the space of the world for over 2000 years. Until the early 19th century Euclidean (solid or planar) ge-ometry was just geometry. Now, follow-ing Einstein’s theory of relativity we must also account for the gravitational curvature of space and the idea that parallel lines are really only parallel some of the time. Subsequently, the once easy, congruent relationship between ge-ometry and reality, mathematical space and lived space, grows ever more compli-cated and abstruse. To use geometry, to order and “measure the earth,” one will likely use several models. One will also likely make new ones.

The artistic category geometric abstrac-

tion, despite its seeming simplicity and straightforwardness, is equally and in-creasingly complex. What may formally appear as a unified, clean, and dis-tinguishable genre—“simple geometric forms placed in nonillusionistic space and combined into nonobjective composi-tions”—is diverse and messy.i Deployed in art, the ostensibly universal language of geometry has led to visual simpli-fication, but it has also inversely re-sulted in no shortage of meaning. As art history, moreover, the narrative of geo-metric abstraction is less than direct. Founding Director of the Museum of Mod-ern Art Alfred H. Barr, Jr.’s now iconic 1936 flow-chart diagramming “Cubism and Abstract Art” arrives at the conclud-ing “Geometrical Abstract Art” (and its dialectical opposite “Non-Geometrical Abstract Art”) by the most meandering and multiplex of routes. To look at “the geometric impulse in abstract art,” as curator-artists Jessica Halonen and Em-ily Joyce put it in the subtitle to this exhibition, or to measure the scope and variation of geometric abstraction, one could attempt a mathematical-logical schema, perhaps the Klein four-group fa-vored by Rosalind Krauss.ii But in the spirit of keeping things more exoteric, contemporary, and geometric, I propose a scatter plot—like one of those handy infographics on the Nytimes.com.iii

Our imaginary scatter graph claims ab-straction as its subject and takes the form of a cube or sphere divided by di-vided by X, Y, and Z axes, and the planes between them, into eight sections. The X-axis runs from the non-objective to the objective a.k.a. the representation-al. The Y-axis spans from the geometric to the non-geometric, gestural or bio-morphic. Finally, the Z-axis traverses

from the material to the optical to the metaphysical and spiritual. One may take issue with these polarities, and sug-gest others, to differentiate perhaps between mechanical and handmade, utopian and entropic, and ideal and irregular or natural. One may even prefer one axis as a line of chronology. However, for our exploratory experiment these three lines of demarcation should minimize redundan-cy and offer a substantial view of geo-metric abstraction’s semiotic, formal, and experiential potential.

At one extreme (non-objective, geo-metric, metaphysical) we can plot the spiritual renderings of Hilma Af Klint and Emma Kunz, Kandinsky’s musical com-positions, and the mystical purity of Malevich’s Suprematism. At the opposite end of the Z-axis, passing the elemen-tal designs of Mondrian’s Neo-plasticism en route, we would stake Suprematism’s

material counterpoint, Constructivism. Representational proclivities place Cub-ists and early Duchamp closer to the cen-ter of the X-axis. Opposite, in the non-objective, expressionist, metaphysical quadrant span Barnett Newman and his Ab-stract Expressionist cohort, from which one could trace, through Tony Smith, a diagonal back down near Rodchenko to the “what you see is what you see” minimal-ism of Frank Stella, Donald Judd, and Sol LeWitt (non-objective, geometric, material). Ellsworth Kelly and Anne Tru-itt occupy space nearby. Victor Vasarely and Bridget Riley (less material) edge back to the origin. Similarly, late Da-vid Smith and then Joel Shapiro (both less objective) and Richard Serra and Eva Hesse (both less geometric), as well as Alfred Jensen and Agnes Martin (both more metaphysical) spiral outwards, de-fining a space filled with Tauba Auer-bach, Peter Halley, Mark Grotjahn, Wade

Guyton, Sarah Morris, and Katja Strunz.

We can likewise plot the ten artists in this exhibition: Linda Besemer, Claude Collins-Stracensky, Krysten Cunningham, Mark Hagen, Jessica Halonen, Hadley Hol-liday, Emily Joyce, Dennis Koch, Jes-sica Mallios, and Brad Tucker. Besemer’s acrylic paint renderings of baroque CGI topography, like SBW #1, 2012, would seem squarely non-objective, geometric, and material. Cunningham’s handcrafted polychora (4D forms) and Koch’s penciled fractal formulations occupy similar turf, with their respective mathemati-cal designs edging each toward the ob-jective pole. The nature appropriations of Collins-Stracensky (physics), Hagen (geoscience), Halonen (genetics), and Mallios (optics) each move farther to-ward representational quadrants and hov-er around a midpoint along the geometric and non-geometric (Y) axis. The scatter graph’s zone between geometric and amor-phous, and between non-objectivity and representation also holds Joyce’s icon-ographic double-image prints, Tucker’s quirky constructions, and Holliday’s paintings of diffuse and aqueous, some-times tessellating shapes.

Predictably, with additional use (as the field becomes more visible) the short-comings of this model become increasing-ly apparent. Besemer’s work also invites Feminist and Queer interpretations not accounted for here—an additional dimen-sion of social and historical context (and other auxiliary meanings) seems lost. The specifics of metaphysical/spiritual meaning or material effect are also blurred. The multiform production of several contemporary artists, espe-cially, should occupy multiple points or even entire lines on the graph. More-

over, advances in science and technol-ogy are collapsing the axis between the geometric and biomorphic.

Our scatter graph conveniently over-simplifies reality to picture a scale, shape, and topography for the collective phenomena of geometric abstraction. How apt then is this model? It shows affini-ties and contrasts of artistic practice. For instance, we can associate Collins-Stracensky with Nancy Holt and Brancusi. It also shows the density with which certain ideas have been explored, in-cluding those nexuses yet to be inves-tigated and those that are unexplored. However, can we posit any general rules from these relationships? Does this ex-ercise yield a practical tool? Does it provide an accurate image of reality? Or is this geometrical model a metaphor, or an experience, or perhaps both?

2. Model Y

A view of geometric abstraction beyond modern Western art would invariably in-clude intricate Islamic decoration, and the yantra and mandala pictures of tan-tric Buddhism and Hinduism. Each employs geometry to convey ideas too abstract to be otherwise visualized. Typically Is-lamic art is aniconic. According to the Koran, portraying the infinite, indivis-ible, and transcendent nature of God in figurative form is idolatry. Instead, imperfect geometric, arabesque (vege-tal), and calligraphic patterns create an earthly analogue. In a like manner the complex geometric configuration of a yantra expresses an aspect of a di-vinity in concrete visible terms. The concentric circle and square designs of a mandala manifest the greater cosmos in

microcosmic form. Mandalas provide blue-prints for sacred temple architecture, and like yantras, are instruments to aid in meditation.

In these cultural contexts geometric ab-straction offers a symbolic representa-tion of metaphysical beliefs. It gives form to spiritual entities and extrasen-sory phenomena as well as their defining qualities. Significantly, this diagram-matic use of geometry is complemented by an analogous visual if not also psycho-logical and bodily experience. The com-plexity of geometric patterning awes and overwhelms. Or the simplicity of basic geometric forms directs attention and focuses thought. By limiting or expand-ing visual input geometric abstraction shapes perception.

The artists in this exhibition also em-ploy geometric form to articulate meta-phorical representations of bewildering and hypothetical phenomena. They also provoke illustrative perceptual experi-ences; the works do not just tell but also show. Halonen’s Rx Garden: Sticky Ends (6), 2012, visualizes a mutant mo-lecular structure. A spheroid comprised of irregular twig appendages and col-orful clay joints, it dizzies the eye and the mind. Joyce’s silkscreen Sun Burn (Burned) 2, 2012, conjures a blind-ing sunburst. The image visually oscil-lates between a receding void and an approaching flare—readings complicated by the literally burnt hole at the pa-per’s center. Mallios’s ethereal video Rhombus, 2012, looks and plays like a James Turrell Skyspace. Its tightly de-fined field of changing light alternat-ingly appears as a two-dimensional shape and a dimensionless abyss. Similar cog-nitive dissonance occurs as Hagan cuts

cubic, crystal-like shapes from amor-phous Obsidian chunks in To Be Titled (Subtractive Sculpture #10), 2012, and Holliday adds visual depth and liquidity to a square composition with washes of acrylic paint and a silver leaf border in Poured Square, 2009. In each instance simple shapes relate conceptual dis-tinctions through optical tensions. The works communicate ideas and experiences beyond their basic geometric framework.

3. Model Z

“X, Y, Z” also evokes the end of the al-phabet. It suggests a potential limit, a conclusion to logic and order. If geome-try is an effort to survey the universe, to find underlying structure or to im-pose one, there are areas of experience to which this rule has not reached. Phe-nomena exist that the current models do not quite accurately or fully account. In the modern tradition this difference between order and the unknown manifest-ed artistically as an esoteric interest in the 4th dimension.iv Historically, it also coincided with a distinction be-tween geometry and biology. Alfred H. Barr, Jr. famously contrasted geomet-ric abstraction with that of biomorphism with its figurative and intuitive con-notations, summarizing his analysis with the oft-quoted statement, “The shape of the square confronts the silhouette of the amoeba.”v His eventual MoMA succes-sor Kirk Varnedoe further described the postminimal and postmodern turn of the 1960s and 1970s as a contest between ra-tionality and organicism, “a collision between order and disorder, between geo-metric rule structures and recalcitrant irregularity and shapelessness.”vi This formal dichotomy is not mutually exclu-

sive; Barr cites a synthesis in each Kandinsky and Malevich, as does Varnedoe in each Eva Hesse and Richard Serra. However, the duality remains persistent, even as science maps biology with in-creasing (mathematical) precision.

Accordingly, many of the artists in this exhibition create works that interface between geometric and non-geometric forms, typically in a single image or sculpture. Sometimes this combination or fusion is explicit, as in Collins-Stracensky’s objects. In precise ar-rangements, such as untitled (filters & perforation), 2007-11, he places “ flo-ra”—branches, seeds, or other organic matter—within viewing spaces defined by rectilinear sheets of glass and Plexi-glass. Just as often, the biological im-pulse appears as a trace, through the irregular incident of the artist’s hand. In Cunningham’s sculpture, including her untitled tabletop objects from 2011-12, she manifests imaginary geometric forms with craft and natural materials, mak-ing the cerebral figures earthly. Koch’s recursive drawings, created with color pencils but also sometimes with power tools as in Untitled, 2012, are equal parts module and gesture. Tucker simi-larly uses mechanical processes and his hand to create imperfect schematic frag-ments imbued with personality. Like some of Koch’s patterns and like Cunningham’s recent sculpture, Tucker’s constructions can suggest anatomical associations. His painting-object Kidney, 2012, is idio-syncratic but also familiar for the nat-ural structures it resembles.

If the production of these contemporary artists appears less than strictly geo-metric in a classical (Apollonian, Py-thagorean, Cartesian) sense, it reveals

a thorough investment in fundamental forms, visual figures and systems that are, by logic or habit, not arbitrary. Using the language of geometry to in-dividual ends, and mingling it with a common vocabulary of biomorphism, they instill unpredictable life into abstrac-tion and offer fresh models with which to measure the world.

Kurt Mueller is a writer and artist liv-ing in Los Angeles

Endnotes

1 Magdalena Dabrowski, “Geometric Abstraction” In Heilbrunn Timeline of Art History, October 2004,http://www.metmueum.org/toah/hd/geab/hd_geab.htm

2 See Rosalind Krauss, “Sculpture in the Expanded Field,” October, no. 8 (Spring 1979): 37.

3 For example, see “The Death of a Terrorist: A Turning Point?” NYTimes.com, May 3, 2011,http://www.nytimes.com/interactive/2011/05/03/us/20110503-osama-response.html; and Nate Silver, “A Graphical Overview of the 2012Republican Field,” NYTimes.com, February 4, 2011, http://fivethirtyeight.blogs.nytimes.com/2011/02/04/a-graphical-overview-of-the-2012-republican-field.

4 See Linda Dalrymple Henderson, The Fourth Dimension and Non-Euclidean Geometry in Modern Art (Princeton: Princeton UniversityPress, 1983).

5 Alfred H. Barr, Jr., Cubism and Abstract Art (New York: Museum of Modern Art, 1936), 19.

6 See Kirk Varnedoe, Pictures of Nothing: Abstract Art since Pollock, A.W. Mellon Lectures in the Fine Arts (Princeton: Princeton UniversityPress, 2006).

SBW #1 2012 acrylic on canvas48 x 66 inchescourtesy of the artist

Linda Besemer

untitled (filters & perforation)2007-11flora, paint, plexiglas, powdercoated steel, wood, felt44 x 18 x 44 inches

courtesy of the artistphotograph by Collective Field


From left: Untitled2012cardboard, jute, dye, sculptamold, acrylic paint, steel, epoxy, enamel34 x 16 x 18 inches

Untitled2011cardboard, cyanoacrylite14.25 x 20 x 20 inches

Untitled2012epoxy resin tape, paper, steel, jute47 x 10 x 9 inches Untitled201214 x 16 x 9.5 inchescardboard, hydrocal, acrylic paint, jute, dye

courtesy of the artist

Krysten Cunningham

To Be Titled (Subtractive Sculpture #10)2012rainbow obsidian and modular aluminum space frame51 x 14.5 x 14.5 inches

courtesy of the artist and International Art Objectsphotograph by Robert Wedemeyer

Mark Hagen

Rx Garden: Sticky Ends (6)2012maple, sycamore, cedar and pecan, epoxy resin, acrylic pigment and gouache on plywood and paper pedestal12 x 10 x 14 inches

courtesy of the artist and David Shelton Gallery, Houston

Jessica Halonen

Poured Square2009acrylic and silver leaf on canvas19 x 19 inches

courtesy of the artistphotograph by Robert Wedemeyer

Hadley Holliday

Sun Burn (Burned) 22012unique silkscreen on burned paper63 x 55 1/4 inches

courtesy of the artistphotograph by Gene Ogami

Emily Joyce

Untitled2012color pencil on paper49 x 51 inches

courtesy of the artist and Marine Contemporaryphotograph by Rebecca Sanabria

Dennis Koch

Rhombus2012 high Definition video without sound; looped; single channel projection; aspect ratio 16:9, dimensions variable


Jessica Mallios

Kidney2012polyester, linen, and primer on wood12 x 24 x .75 inches


Brad Tucker

LINDA BESEMER

Born 1957, South Bend, INLives and works in Los Angeles, CA

Selected Solo and Group Exhibitions:

2011 Creating the New Century: Contemporary Art from the Dicke Collection, Dayton Art Institute, Dayton, Ohio

2010 Permissions, Highways Gallery, Santa Monica, California

2009 Solo Exhibition, Galerie Jean-Luc & Takako Richard, Paris, FranceIn Bed Together, Royal T, Los Angeles, CaliforniaSmall is Beautiful, June Lee Contempo-rary Art, Seomi & Tuss Gallery, Seoul, South KoreaSynthetics, Whitney Museum of American Art, New York City, New York 2008 Solo Exhibition, Angles Gallery, Santa Monica, California California Video, (Strip with Erika Suderberg), The J. Paul Getty Museum, Los Angeles, California

2007 Proteus Gowanus Gallery, (Strip with Erika Suderberg), Brooklyn, New York18th Festival internacional de curtas-metragens de Sao Paulo, Brazil.Lines, Texas Gallery, Houston, TexasSummer Stock, Angles Gallery, Santa Monica, California

2006 southwestNET: Painting, Scottsdale Mu-seum of Contemporary Art, Scottsdale, ArizonaHotel California, The Glendale College Art Gallery, Glendale, California

2005 Solo Exhibition, Angles Gallery, Santa Monica, California Pardners, Domestic Setting, Los Ange-

les, CaliforniaExtreme Abstraction, Albright-Knox Art Gallery, Buffalo, New York In the Abstract, Angles Gallery, Santa Monica, California

2004 Solo Exhibition Cohan & Leslie, New York City, New YorkNew Geometries, The San Diego Museum of Art, San Diego, California

CLAUDE COLLINS-STRACENSKY

Born 1975, Lakewood, OH Lives and works in Los Angeles, CA

Selected Solo and Group Exhibitions:

2012 Made in LA; Venice Beach Biennial. Ham-mer Museum Los Angeles Summer show. Nye + Brown, Los AngelesKNOWLEDGES at the Mount Wilson Observa-tory. Los Angeles, Ca20 Years Ago, or So (Art Old Enough to Drink). Gallery Wolfy Part II, Cleve-land, OhioAfterglow, Rethinking California Light & Space. CSU-Sacramento Library Gal-lery, Ca.Drylands Design. A+D - Architecture and Design Museum, Los Angeles

2011 High Desert Test Sites 2011, curated by Paul McCarthy & Family, Andrea Zittel, & others. Joshua Tree, CA Epiphany Conservation Trust, curated by Alma Ruiz and Sharon Lockhart. Blum & Poe, Los Angeles.A Favorable Light. Galleria Nicoletta Rusconi, MilanOver the City and Through the Woods. Statler Waldorf Gallery, Los Angeles 2010 The Energetic Return. Galleria Nicolet-ta Rusconi, MilanFolly, The View From Nowhere. MOCA Pa-cific Design Center, Los Angeles Afterglow, Rethinking California Light & Space. Weignad Gallery, Belmont, CA

2009 Hammer Projects: Claude Collins-Stra-censky. Hammer Museum, Los AngelesBellows and Whispers: The Large and Small Effects of Structure, Its Pres-ence and Absence. Cherry and Martin Gallery, Los Angeles

2008 All That Heaven Allows. Bonelli Con-temporary, Los AngelesA Dead Serious Group Show. Sister Gal-lery, Los Angeles

2007 The Magical Mundane. Bucketrider Gal-lery, ChicagoShow. Jail Gallery, Los Angeles

2006 Spring. Kantor/ Feuer Gallery, Los An-geles

Krysten Cunningham

Born, 1973 New Haven, CTLives and works in Los Angeles, CA

Selected solo and group exhibitions

2012 Colorific” L’Ecole Des Arts de Braine-L’Alleud, BE Art in the Parking Space” The Standard Hotel, Los Angeles, CA (performance)

2011 “Art & Cars & Stars” Mercedes Benz Mu-seum, Stuttgart, DE Private/Corporate VI” Daimler Contempo-rary, Berlin, DE Do you do this on your couch?” Small Space, Milwaukee, WI (screening)Goldmine: Contemporary Works for the Collection of Sirje and Michael Gold” University Art Museum, California State University, Long Beach, CA 2010 “3 to 4” Thomas Solomon Gallery, Los An-

geles, CA 3 to 4” Ritter/Zamet, London, UK Undone: making and un-making in contem-porary sculpture” Henry Moore Institute, Leeds, UKAnimal Style” Pepin Moore Gallery, Los Angeles, CA

2009 “Tangental” Dispatch, New York, NY Bitch is the New Black” Honor Fraser Gallery, Los Angeles, CA Comfortably Numb” Pacific Design Cen-ter, Los Angeles, CA Yield” Schmidt Contemporary Art, St. Louis, MO 1999” China Art Objects@Cottage Home, Los Angeles CA This is the Future Before it Happened” Glendale College ArtGallery, Los Angeles

2008 “Time Machines” Thomas Solomon Gallery@Cottage Home, Los Angeles, CA Yo, Mo’ Modernism” Center for Contempo-rary Non-Objective Art, Brussels, BESculpture Trail” Grieder Contemporary, Zurich, CH Krysten Cunningham” Sies + Höke, Düs-seldorf, Germany

2007 “Minimalism and Applied, Objects for Imaginative and Real Use”Daimler Contemporary, Berlin, DESummer Show” Lora Reynolds Gallery, Austin TX Between thought and Expression” Sweeny Art Gallery, Riverside, CA 2006 “The Field” Ritter/Zamet, London, UK Material Space” Tom Solomon Gallery @Rental Gallery, Los Angeles, CA

2005 “THING: New Sculpture from Los Angeles” UCLA Hammer Museum,Los Angeles, CA

Mark Hagen

Born 1972, Black Swamp, VA Lives and works in Los Angeles, CA

Select solo & group exhibitions:

2012 TBA de nouveau, Almine Rech, Paris, France Made in L.A., Hammer Museum, Los Angeles One Day At A Time, Peres Projects, Ber-lin More and Different Flags, Marlborough Chelsea, New York

2011 TBAA, Galeria Marta Cervera, Madrid, Spain TBA, China Art Objects, Los Angeles, CA California Dreamin, Curated by Hedi Slimane, Galerie Almine Rech, Paris, France Seven Los Angeles Artists, Curated by Scott Benzel, Fellows of Contemporary Art, Los AngelesApril, Jack Hanley Gallery, New York, NY 2010 POINTS OF VIEW, Portugal Arte 10, Lis-bon, Portugal Succession & Simultaneity, China Art Objects, Los Angeles, CA 2008 California Biennial, Orange County Mu-seum of Art, Newport Beach, CA

Jessica Halonen Born 1972, Milford, MI Lives and works in Austin, TX.

Select solo & group exhibitions:

2012 Jessica Halonen: Rx Garden (Abbreviated Sample), McNay Museum of Art, San Anto-nio, TXJessica Halonen: Propagating Uncertain-ty, David Shelton Gallery, San Antonio,

TXArt on Paper 2012, Weatherspoon Art Mu-seum, Greensboro, NCThe Inaugural Perennial: Natural Ab-straction, Guadalupe Cultural Arts Cen-ter, San Antonio, TX. Curated by Frances Colpitt

2010 Spinod: Vincent Falsetta and Jessica Ha-lonen, Texas State University Gallery, School of Art and Design, San Marcos, TXDecoy, Parsons School of Art and Design, Paris, FranceSeedlings, The Dallas Contemporary, Dallas, TX. Curated by Regine Basha

2009 Rx Garden, Art Palace, Austin, TXZone 3 to 7, The Dallas Contemporary, Dallas, TXPicnic Baskets, Window Works, ArtPace, San Antonio, TXPicnic, University of Texas San Antonio Satellite Space, San Antonio, TX

2008 Material Culture, Fort Worth Contempo-rary Arts. TCU, Fort Worth, TX

2007 Drawing: New Accessions to the Perma-nent Collection, Museum of Fine Arts HoustonPlot, Park Project, Los Angeles, CA

2006 From/About, Keki Gallery, Budapest, Hungary

2005 Rock, Paper, Scissors, Arlington Museum of Art, Arlington, TX

2004 Gardens Real and Imagined, Austin Mu-seum of Art, Austin, TXDraw_drawing, Gallery 32, London, Eng-landTwang, Art Museum of Southwest Texas, Beaumont, TX (travelled McKinney Avenue Contemporary, Dallas, TX). Curated by C. Sean Horton

Hadley Holliday

Born 1970, Kansas City, MOLives and works in Los Angeles, CA

Selected solo and group exhibitions:

2013 New Work, Carl Solway Gallery, Cincin-nati, OH

2012 Warp and Weft, Taylor de Cordoba Gal-lery, Los Angeles, CAArt on Paper 2012, Weatherspoon Art Mu-seum, Greensboro, NCSummer Sun, Taylor de Cordoba Gallery, Los Angeles, CA

2011 Cries and Whispers, Sam Lee Gallery, Los Angeles, CAIko Iko, Iko Iko space, Los Angeles, CA

2010 Sound and Vision, 101 California St., San Francisco, CA 2009 Hadley Holliday, New Paintings, Solway Jones Gallery, Los Angeles, CAWest Coast Painters, Andrewshire Gal-lery, Los Angeles, CA

2008 Gravity & Transformation, Kristi Engel Gallery, Los Angeles, CACircle Jerks, the Monte Vista, Los An-geles, CAAkklimitizatsia: New Work from Saint Petersburg and Los Angeles, C.A.G. Gal-lery, Saint Petersburg, Russia

2007 Notes from the Overpass: New Art from Los Angeles and Saint Petersburg, Gallery G18, Helsinki, FinlandUnhinged, A Friendly Place, Los Ange-les, CA

2006 Summer Suite: Hadley Holliday, Kathryn Andrews and Emily Newman, Glendale Com-munity College, Glendale, CA

Hadley Holliday, Jonathan Parsons and Robert Holyhead, Kontainer Gallery, Los Angeles, CA

2004 Minimal as Maximal, Kontainer Gallery, Los Angeles, CASupersonic, Art Center College of De-sign, Pasadena, CA

Emily Joyce

Born 1976, Arlington Heights, ILLives and works in Los Angeles, CA Selected solo and group exhibitions:

2012 New Prints: Gallery Artists, Inman Gal-lery, Houston, TexasEmily Joyce: Paintings and Prints, Com-pact Gallery, San Luis Obispo, CATalk Show, Machine Project, Los Ange-les, CAThis & That, Fondation d’entreprise Ri-card, Paris, France

2011 Detours: Tahoe City, North Tahoe Arts, Lake Tahoe, CAWall Power, Brand Library and Art Gal-leries, Glendale, CA

2010 New Math, Inman Gallery, Houston, TXHollywood MerchmART, Los Angeles Con-temporary Exhibitions, Los Angeles, CAOne For All, Trinity University Art Gal-lery, Trinity University, San Antonio, TXBroad Strokes, Whittier Public Library, Whittier, CA

2009 Make It New: Abstract Art from the Col-lection, Ulrich Museum of Art, Wichita, KS

2008 Learning by Doing: 25 Years of the Core Program at the Museum of Fine Arts, Houston (Part II), Museum of Fine Arts, Houston, TX

2007 New Work, Inman Gallery, Houston, TXPlot, a two-person show with Jessica Ha-lonen, Park Project, Los Angeles, Cali-fornia

2006 Welcome Home, Sara Meltzer Gallery, New York, NY

2004 Indelible, Sara Meltzer Gallery, New York, NY

DENNIS KOCH

Born 1978, Cedar Falls, IALives and works in Los Angeles, CA

Selected solo and group exhibitions:

2011 Standing Waves, Marine Contemporary, Los Angeles, CA

2010 Downy Head, Kantor Gallery, Los Ange-les, CA 2009 Circles, Karl Hutter Fine Arts, Beverly Hills, CA Outside the Lines: Drawing in Contempo-rary Art, Royale Projects, Palm Springs, CABubble and Squeak, Happy Lion, Los an-geles, CA Salon No. 4, Marine, Los Angeles, CAObsession, Heather James Fine Art, Palm Desert, CA

2009 The Newest, Phil, Los angeles, CAConstruct and Dissolve: Works on paper by artists from Los Angeles, Galerie Sabine Knust, Munich, Germany

2008 New Works: Dennis Koch & Claudia Nieto, High Energy Constructs, Los Angeles, CA

Jessica Mallios

Born 1976, Austin, TX

Lives and works in Columbus, OH

Selected Group and Solo Exhibitions:

2012 For An Experience of Wholeness, The Dig-ital Media Gallery, Lycoming College, Williamsport, PA The Mobile Archive, Tranzitdisplay, Prague

2011 Texas Biennial, Curated by Virginia Rutledge, Austin, Houston, & Dallas, TX Voxel Vision 1.0 Video Festival, Curat-ed by Rachel Cook, Vox Populi Gallery, Philadelphia, PA 2010 Perspectives 168: Anna Krachey, Jessi-ca Mallios, and Adam Schreiber, Curated by Toby Kamps, Contemporary Arts Museum Houston, Houston, TX 31 Women in Art Photography, Curated by Charlotte Cotton and Jon Feinstein, Af-firmation Arts Foundation, New York, NY Houston Fotofest - Panta Rei, Lakes Were River’s Collective, Box 13 Art Space, Houston, TX 2009 I am not so different, Curated by Rachel Cook, Art Palace, Austin, TX

2007 pHytonics Online Gallery, Powerhouse Books, Brooklyn, NYWhy & Wherefore, Curated by Summer Guth-ery, Lumi Tan, & Nicholas Weist

2006 Free Frisbee, Art Basel Miami: Frisbee Art Fair, Curated by Anat Ebgi and Jen DeNIke, The Cavalier HotelMy Bureaucracy, pHytonics Online Gal-lery, Powerhouse Books, Brooklyn, NY

2005 Five, Curated by Mireille Fauteux, Sca-lo Project Space, New York, NY

BRAD TUCKER

Born 1965, West Covina, CALives and works in Austin, TX

Selected solo and group exhibitions: 2012 Pressing News, Inman GalleryThe Dub Putt Arms, The Jones Center, AMOA/Arthouse, Austin, TXSonic Architectonic, Visual Arts Build-ing, University of Texas Dallas, Dal-las, TX The Mobile Archive, The Israeli Center of Digital Art, Holon, Israel

2011 Ten Records on Video, Contemporary Arts Museum, Houston, TX

2009 Tijuana Brass, Inman Gallery, Houston, TXMore Mergers and Acquisitions, Atlanta Contemporary Art Center, Atlanta, GAThe Fuzzy Set, LAXART, Los Angeles, CA

2008 Opportunity Knocks, Art Palace, Austin, TXMaterial Culture, Fort Worth Contempo-rary Arts, TCU, Fort Worth, TX. curated by Frances ColpittProbably, Inman Gallery, Houston, TX

2005 Night and Day, Inman Gallery, Houston, TexasDrive Friendly: Bill Davenport, Franc-esca Fuchs, Brad Tucker, Ibid Gallery, London, UK curated by John Slyce Conversational Lag, Freight and Volume Gallery, New York, NYColor Line Pattern, Austin Museum of Art, Austin, TX

2004 Brad Tucker, Mark Moore Gallery, Santa Monica, CAArt House Presents: Brad Tucker, Art House, Austin, TXTwang, Art Museum of Southwest Texas, Beaumont, TX (travelled McKinney Avenue

Contemporary, Dallas, TX). Curated by C. Sean HortonTreble, curated by Regine Basha, Sculp-ture Center, Long Island City, NYAltoids Curiously Strong Collection, Arthouse, Austin, TXI Heart Texas, curated by Sean Horton Alston Skirt Gallery, Boston, MA

xyz: the geometric impulse in abstract art

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