Line and Color
The exhibition Tadasky: Series D spotlights the artist’s exploration of thick and thin lines
Between 1966 and 1967, abstract artist Tadasky created his Series D works that moved from his early concentric circles, which concentrated on arrangements, to a focus on the thickness and thinness of lines. this includes using the spherical shapes in a variety of sizes and creating vertically oriented paintings that seemingly cascade like waterfalls. through July 28, nine works from this period will be on display at the Lobby Gallery at 499 Park Avenue in New York City. In describing the series, thomas Micchelli writes in his catalog essay, “Coming only a few years after
Tadasky committed himself to circles, the D Series includes striking departures from the artist’s customary format of a circle enclosed within a square canvas. In D-155 (1966-67) and D-156A
(1966), severely cropped circular bands interlock and overlap, disrupting the calm embodied by their neighboring concentric compositions. Further, Tadasky extracts the bands of color into narrow, vertical single-stripe paintings, which are created through an equally meditative process involving a large, rotating drum.”
Color is also important to the work Tadasky created, as he “aimed for optical blending,” say Emily Lenz, director of D. wig more Fine Art.“in the D Series, Tadasky paints monochrome paintings in red, D-129, and blue, D-127, to draw the viewer’s attention to the larger rings of color (three rings around a center orb). The adjustment of thin and thick black lines can give the impression of changes in color but it is in fact one single color. Tadasky created the red and blue painting D-128 to bring the two other paintings into conversation with each other.”
Other paintings in the show, such as D-130, have a variety of colors—in this instance white, yellow, orange and red. When Tadasky moved to the United States in 1961, his goal was to create the perfect circle and ended up developing a calibrated turntable that he rotated with one hand while applying paint with a very fine Japanese calligraphy brush.the thinness of the brush aided in making the precise circle. Micchelli writes, “look carefully at the lines constructing the concentric circles, and it soon becomes evident that what greets the eye with the exactitude of an inkjet is in fact a brushstroke animated by infinitesimal degrees of expansion and contraction, like the breathing of a snake.”
The exhibition is part of a two decade long series of exhibitions featuring large-scale works by significant abstract painters at 499 Park Avenue, which is supported by the building’s owners, American Realty Advisors. For this show, D. wig more Fine Art worked with curator Jay Grimm and Lenore Goldberg from Hines, who manage the building.
Works from Tadasky: Series D on view at the Lobby Gallery at 499 Park Avenue in New York City.
Tadasky (b. 1935), D-129, 1966. Acrylic on canvas, 68 x 68 in.
Tadasky (b. 1935), D-130, 1966. Acrylic on canvas, 68 x 68 in.