Blinky Palermo: Retrospective 1964–1977

Broad Contemporary Art Museum, Level 2
October 31, 2010–January 16, 2011
Image: Blinky Palermo, Untitled, 1964, Oil on canvas, Collection Stroher, Darmst

While Blinky Palermo’s reputation as one of the foremost post-war abstract painters is well established in Europe, his work is rarely seen in North America. Beginning its yearlong tour at LACMA, this is the first comprehensive retrospective of the work of this German artist in the United States.

The exhibition provides an in-depth examination of the evolution of Palermo’s aesthetic, illustrating the significance of his contribution to post-war art. It surveys the four principal groups of work, created after he graduated from Joseph Beuys’s class at the Dusseldorf Art Academy in 1964, that comprise his oeuvre: the Objects; Cloth Pictures; documentation of in situ Wall Paintings and Drawings; and examples of his late Metal Pictures.

Blinky Palermo: Retrospective 1964–1977 has been curated by Lynne Cooke. Organized by Dia Art Foundation and the Center for Curatorial Studies at Bard College, it will be accompanied by a full-color publication, co-published by Dia and Yale University Press.

The national tour of Blinky Palermo: Retrospective 1964–1977 is made possible by Gucci. Additional tour support is provided by The Andy Warhol Foundation for the Visual Arts, the Brown Foundation, the National Endowment for the Arts, and Glenstone. The Los Angeles County Museum of Art presentation is sponsored by Christie’s.

 

Coney Island II
Blinky Palermo
1975
Untitled (Totem)
Blinky Palermo
1964
Mirror Object
Blinky Palermo
1973
Composition with 8 Red Rectagles
Blinky Palermo
1964

Blinky Palermo: Conversation

October, 2010

In this excerpt from a public program at LACMA, Lynne Cooke, curator of the exhibition Blinky Palermo: Retrospective 1964–1977, discusses Palermo's work with artist Mathias Poledna and art historian Rhea Anastas. The talk took place on October 26, 2010.

When Adjacent Works Converse

Blinky Palermo: Retrospective 1964–1977, which closes this Sunday, is notably free of explanation in its presentation—rather, the artworks are left to speak for themselves. After touring the exhibition, artist Steve Roden imagined what would happen if that were literally the case....

Contemplating Color and Form

Curator Franklin Sirmans installed Color & Form, a selection from the Broad Collection, on the east side of the building’s top floor. Works by Imi Knoebel, John McCracken, Christian Eckart, Gunther Forg, and Peter Halley populate the vast white walls beneath the Renzo Piano skylights. The installation is interesting on a number of levels. In terms of the story of art history, it ties in directly with the Blinky Palermo show one level down (Palermo and Knoebel were close)...

Video