Color & Form

BCAM, Level 3
August 9, 2010–June 5, 2011

This installation features a focused selection of works by the German abstract artist Imi Knoebel, in addition to significant pieces by four other artists: John McCracken, Christian Eckart, Gunther Forg and Peter Halley. Knoebel studied under Joseph Beuys in the late 1960s, in Düsseldorf, along with Blinky Palermo, the subject of an exhibition opening October 31st, 2010 at LACMA. Knoebel and Palermo were close friends; mining territory staked out earlier by Piet Mondrian and Kasimir Malevich, they found sustenance in explorations of color and form. Working in a similar vein, younger artists such as Eckart, Forg and Halley offer new explorations into material, form, color and line, while working with abstraction.

Halley in particular provides an interesting coda to this selection from the Broad Collection. His brand of geometric abstraction along with his writings would become the seeds of the 1980s movement termed "neo geo." The west side of this floor is well known for presentations of Halley's peer, Jeff Koons. Thus, the installation seeks to demonstrate the continuities between abstraction and representation, eras and artistic styles.

Image: Peter Halley, Collision Circuit, 1989–90, Day-Glo acrylic, acrylic, and Roll-atex on canvas, The Eli and Edythe L. Broad Collection, Los Angeles.

Contemplating Color and Form

Interesting interactions between art and architecture are diverse and plentiful on this campus. Right now, you can contemplate architectural minimalism as a foil for ancient Olmec sculpture in the Resnick Pavilion; study a wall of Impressionist masters in a gallery illuminated by a bank of windows overlooking the palm trees of Wilshire Boulevard; and be captivated by the emotive brushwork of seventeenth-century Zen monks in the luminous natural light of Bruce Goff’s Pavilion for Japanese Art.