Page 28 - "he 2020 Guggenheim issue of World of Art Contemporary Art Magazine

MARKING TIME:
PROCESS IN MINIMAL
ABSTRACTION

New York - The Solomon R. Guggenheim Museum

During the 1960s and 1970s, many artists working with or a pin repeatedly pushed through paper, the works make
abstraction rid their styles of compositional, chromatic, and visible the ways in which they were produced, allowing for
virtuosic flourishes. As some turned toward such minimal an intimate understanding of the duration, intensity, and
approaches, a singular emphasis on their interaction with rhythm that each required.
materials emerged. The resulting pieces invite viewers to Featuring paintings and works on paper by Agnes Martin,
imaginatively reenact aspects of the creative process. Roman Opałka, Park Seo-Bo, and others, Marking Time
What unites the artists featured in Marking Time: Process explores how drawing attention to the creative process
in Minimal Abstraction is not necessarily a shared belief in fosters a distinctively empathetic mode of engagement.
what art should accomplish or express. Rather, the works on Marking Time: Process in Minimal Abstraction is organized
display reveal the artists’ implicit trust in viewers’ capacity by David Max Horowitz, Assistant Curator, Solomon R.
to put themselves in the artist’s position as they consider Guggenheim Museum.
the object in front of them. Whether characterized by Major support for Marking Time: Process in Minimal
interlocking brushstrokes, a pencil moved through wet paint, Abstraction is provided by Elizabeth Richebourg Rea.

Installation View: Marking Time: Process in Minimal Abstraction
Solomon R. Guggenheim Museum, New York
Photo: David Heald, © Solomon R. Guggenheim Foundation

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