The MET Breuer’s current exhibition Delirious includes about two dozen art works that are related to Mathematics. The Section of the show titled “Excess” features work that involves repetitive series.
Here is Francois Morellet’s rule based painting “4 Grids 0° – 22.5° – 45° – 67.5°” from 1958. Morellet has layered a series of four square grids rotated by the prescribed number of degrees. Like an interference pattern, the white sections pop in the intricate web of black lines.
Hanna Darboven manipulates the digits in calendar dates in her serial drawing “00-99=No1-2K-20K” from 1969-70:
Darboven’s work involves the repetition of predetermined arithmetic operations. To me it functions as a type of visual number poetry.
Delirious is really an amazing exhibit. I have only offered a brief sampling of the work on display. There is even a showcase with some of Sol Lewitt’s note books! If you are in NYC in the next few months I strongly recommend taking some time to have a look. If you can not make it to the museum, there are some images on their website and they have published a nice catalog.
When I heard the title “Delirious” of the current exhibition at the MET Breuer I did not immediately think Math Art. This show explores art from the 1950-1980 period that was in reaction to the tumultuous time after WWII. It includes a broad range of styles and themes. Two sections in particular feature work with mathematical implications :”Vertigo” and “Excess”. The introductory wall signage even mentions the artists’ use of mathematics and geometry.
There were so many pieces in this show that I would like to discuss that I will talk about it in two blog posts
One of the sections in the show is called “Vertigo”. Displayed in this area is work that warps the viewer’s perspective of space.
The 1965 painting “Snap Roll” by Dean Fleming uses flat isosceles triangles, trapezoids, and a single central parallelogram to produce the illusion of a 3-D form simultaneously pushing out of the plane of the canvas, and retreating into the same plane. This disorienting phenomenon disputes Euclidean Geometry.
Robert Smithson’s Untitled (Model) from 1967 consists of a square grid of plastic panels. Carving away layers to reveal a diagonal step pattern, Smithson creates reflective symmetry. Although all of the ends of the elements retain their square shape along each column and row, the openings appear to stretch and warp. This sculpture questions the way space changes when we go from a 2-D flat plane into 3-D object.
There were just so many wonderful examples of mathematically inspired art in this exhibit, it is hard to do it justice in a blog format. Next time I will write about the section titled “Excess”.