Line and Color

The exhibition Tadasky: Se­ries D spot­lights the artist’s ex­plo­ration of thick and thin lines

American Fine Art Magazine - - Gallery Preview: New York, Ny -

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.

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