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INSTALLATION, 2019 THE GEOMETRY OF THE BAUHAUS ©CLIFFORD SINGER
INVITED ARTIST FABRICATED WHILE WORKING AT GLENN ZWEYGARDT’S SCULPTURE STUDIO AT ALFRED UNIVERSITY. © 
GEOMETRICAL CLOUDS, (BLUE CLOUD), 1974 WELDED COLD ROLLED CARBON STEEL AND ENAMEL 49X58 IN.
FIRST GEOMETRIC DRAWING, PEN ON OAK TAG 1967 ©CLIFFORD SINGER

RED OSCULATING CIRCLE, 1989 ACRYLIC ON CANVAS 72X93 IN. | 182.8X236.2 CM. ©CLIFFORD SINGER 

CLIFFORD SINGER

Lives and works in Nevada, United States
www.cliffordsinger.net

Clifford Singer holds a Bachelor of Fine Arts degree from Alfred Dr. Arnheim, where he had inscribed in my copy “To Clifford
University and a Masters of Fine Arts degree from The City College Singer and his inspired geometry - Rudolf Arnheim August 1999”.
of New York, CUNY. He has both taught art and mathematics in The emphasis of the work has been within the range of purely
addition to being licensed at the secondary level. He has worked geometrical thought and vision since about 1972-1973. Since my
in a variety of media and has had several solo exhibitions of his decision early on, to do geometric work, I found myself rooted
work. Mr. Singer spent twenty eight years in New York’s Soho in researching everything that I found to be mathematical in
working and building his career. Earlier in life Mr. Singer was geometric measurability. These concerns brought me through
strongly influenced by his second cousin - the late Mortimer studying Bauhaus exercises from teachers such as Kandinsky,
Leach, Professor, Art Center School, Los Angeles and author, Piet Mondrian, Michelle Seuphor, Max Bill, Andor Weininger, Naum
“Lettering For Advertising”, 1956 who had had a significant impact Gabo and Josef Albers. In 1973 I saw an ad for Meibner Editions
and inspiration for him. “In 1970, I knew that I should devote my and mailed a request for a catalogue. Upon receiving Meibner’s
life work to geometry in art. I have had an interest in geometric information, I was interested in the work of Karel Novosad, Max
art that has led me through a progression of phases with my Bill, Francois Morellet, Ludwig Wilding, Attila Kovacs, and Verena
work beginning in 1972. Of course, I was quite young at the Loewensberg. I was particularly fond of the linear work of Karel
time but non-the-less Irene Rice Pereira’s Oblique Progression Novosad, Czech artist. From a post-colonial perspective of the
at the Whitney Museum had a major influence for my work in world and art, I have recognized that as an American artist
1968. Rudolf Arnheim’s Entropy and Art was a great inspiration the variable levels of influence that shape an international and
to me and in recent years I had had correspondence with Prof. universal ideal for this art form is unquestionable.” Excerpt

WORLD of ART 109