I am happy to report that the “Box of Growth” set of artist’s books published by Purgatory Pie Press in 1999 is on display at Connecticut College’s exhibition “Loose Leafs and Bindings: Book Arts and Prints”. This set of five small books feature my counted marking drawings that illustrate Fibonacci Sequence growth patterns.
Installed in the backroom at the Odetta gallery in Brooklyn. I found two cement Fibonacci Numbers from Patrick Gallagher and Chris Klapper’s “Exploring the Poetry of Numbers” series.
This number is F67, the 67th number in the Fibonacci Sequence
This number is F96, the 96th number in the Fibonacci Sequence.
The Odetta Gallery in Brooklyn is currently presenting a group show titled “Falling into Space”. It explores how physical forces affect the position of objects the artists each utilized a distinct geometric language. Mary Schiliro’s acrylic painting on Mylar “Cat’s Cradle 7” from 2006 incorporates two columns of circular cutouts. The vertical line of reflection symmetry resulting from the cutouts is subverted by the fluid veil of blue transparent paint.
Schiliro’s installment “Disembody” from 2017 continues the theme of a straight line of circular cutouts. The long Mylar ribbon is presented in loops hung from a plexiglass rod running through the center of the gallery. The forces of gravity creating the undulating curtain. The cutaways lined up to create a series of voids illustrating the concept of positive and negative space.
Daniel G Hill’s wire frame wall drawing “Dishtowel Fold” from 2018 is a construction using straight lines to present the basic outline and folds of a form effected by gravity. The two ends are isosceles right triangles. The left hand triangle flush against the wall and the right hand triangle falling forward off the plane.
All of the work in “Falling into Place” involves each artists’ geometric processes in a very personal way. The viewer can move through the gallery and interact with each piece on a very human level.
The David Zwirner gallery is presenting “Sonic Albers” an exhibition related to Alber’s interests in music and sonic phenomena. Albers is known for his his investigations into color and geometric forms. His series of paintings “Homage to the Square” produced between 1950-1976 are an iconic contribution to the lexicon of 20th century Art. This current solo exhibition includes some work almost devoid of color, only using black and white.
“Structural Constellation M-9” from1954 is a line drawing created using machine-engraved plastic laminate that references the outlines of geometric solids in 3-D space. Two rectangular cubes share a segment of one side. The central figure is a rhombus depicting the shared section. It seems as though the two solids are sliding against each other on the same plane.
Here is another panel from the “Structural Constellation” series instead of featuring closed geometric solids this work depicts open forms that share edges in what looks like a precarious arrangement.