[He] opens a dialogue with the history of abstract art, and at the same time criticizes the ontological status of pure painting.”
vs.
“The husband is a true modernist, so he would have lost his mind in a log cabin. And she’s a bit more traditional, so the idea of traveling all the way from New York to Colorado just to be in a minimalist white box wasn’t going to fly,”
"when a sculpture becomes a stairway
only to become a conversation
about the void."
images:
1.. Studio Sofield in Aspen : via AD, text by Mayer Rus, photo by Scott Frances
The clients who commissioned designer William Sofield to create their new home on Aspen’s Red Mountain are a couple, he says, with somewhat divergent tastes. “The husband is a true modernist, so he would have lost his mind in a log cabin. And she’s a bit more traditional, so the idea of traveling all the way from New York to Colorado just to be in a minimalist white box wasn’t going to fly,” Sofield explains. “The strength of this house lies in the tension between their aesthetics.”
read the entire article and images here... they are stunning....
2.. Campoli Presti is pleased to present Olivier Mosset’s second solo exhibition with the gallery following his solo exhibition at Indipendenza Studio, Rome in 2012. Mosset emerged in the Sixties and has been associated with a multitude of art historical movements and contexts. Although his work addresses purest ideals reflected in the Minimalist colour-field painting of Barnett Newman and Ad Reinhardt, the artist began to critique Modernist value systems in painting during his involvement with Daniel Buren, Michel the group BMPT. In anticipation of many artists, who in the 1980s would use appropriation as a tool to critique Modernist authority, Mosset called into question the painter’s gesture and signature by sharing visual styles and dissolving authorship in order to reach a ‘degree zero’ of painting. The Academic Paul Eli Ivey sums up Mosset’s predicament thus – “[He] opens a dialogue with the history of abstract art, and at the same time criticizes the ontological status of pure painting.”
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