Laws of Attraction – A Selection of Late 20th Century Art

The latter twentieth century was witness to the most dynamic and diverse art ever created. It was a time of tremendous creative energy and more than its share of controversy. It was an era where art advanced not by one or two overarching ‘isms’ by branched out to develop multiple new disciplines and philosophies. The Modernism of the first half of the century evolving toward Post-modernism suddenly burst forth like an exploding skyrocket into myriad new approaches and mediums – blossoming into a Pluralism that defies attempts to identify any single governing dynamic.

MS17 is pleased to present an eclectic exhibition of the Art of this period, highlights the art of this time and is the first exhibition of its kind to open in the city. Laws of Attraction, showcases art from the collection of George Waterman, a founding board member of the DIA Center for the Arts, and long-time collector and supporter of the arts and artists.

A sampling of this exhibition includes Nam June Paik, Phillip Wofford, Harry Kramer, Gunter Umberg, George Hermes and Christine Boland, and encompasses mediums ranging from Painting and Photography to Video and Installation Art.

Nam June Paik is considered one of the founders of video based art. Paik saw the potential of video as an expressive medium, current, vital and nearly limitless in its power to reach and influence a wider audience. His untitled piece form 1975 brought together three generations of mass media, all considered leading edge in their respective time.

Phillip Wofford is a member of the Lyrical Abstraction movement whose monumental Upper and Lower Egypt embraces the concept of the all over composition, and is most appreciated for his dense textured and absence of hard edges. Likewise Harry Kramer’s Untitled piece from 1981 breaks the surface tension with his shimmering, vibrant textures, echoing his ocean inspiration. Gunter Umberg, a major pathfinder in color field theory, takes the opposite direction in his Untitled work ca 1981-84, seeking to dissolve the surface to give a sense of limitless depth.

George Hermes is an artist working with assemblages. Unlike his counterpart, Ed Kienholz, the beat generation Hermes charts a whimsical course with his found object pieces. Also included in the exhibition are works by Edward Allington’s playfully challenging The Most fabulous Wound, and Christine Borland’s conceptually charged installation ———–.

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