Grayscale
25 June 2016

Grayscale 

Is sex more intense while blindfolded?

Does the elimination of one sense amplify the others?
What happens to an art exhibition if one ever-present component is taken away?
What happens if you ask artists not to use color?
How does it impact creative process and perception?

The artworks in Grayscale are all black and white. And many shades of gray. More than fifty for sure.

The show is divided into two parts.

Anton Perich (b. 1945) and Bernard Kirschenbaum (1924-2016), two pioneering pre-media artists rooted in Pop and Minimalism respectively share the front gallery. Perich’s black and white portraits created with his electric painting machine and his 1973/74 video “Muhammad Ali: The Lost and Found” are presented along Bernard Kirschenbaum, an early adopter of computer technology whose works explore geometry, scale, patterns and randomness. A group of his sequential drawings and a layered plexiglas sculpture “Entropy” (1996) will be on view.

In dialogue with Perich and Kirschenbaum, six younger artists in the second gallery engage in today’s reverberations of Pop, Minimalism and current hotspots of content and form. Their works range from data visualizations of slave auctions sites (Dyson) to text based political charts (Powhida), expressive air brush portraits (Lee), resin and latex body impressions (Hayden), painterly digital prints (Gorczynski), and multimaterial abstract compositions (Cooper).

The color is missing, but do we really miss it?
Isn’t sex more intense while blindfolded?

WILLIAM POWHIDA
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