Munich’s Galerie Thomas
has a rich
history within international art fairs; proprietor Raimund Thomas co-founded
Art Cologne in 1967, the gallery was one of the original exhibitors at Art
Basel in 1970, and since then they have developed a reputation for innovative
fair booth designs. This March, as Galerie Thomas returns to The Armory Show,
they offer a promising selection of painting and sculpture among Pier 92
Modern’s exhibitors. We take a look at a few booth
highlights that are
not to be missed.
, untitled (to Lucie Rie, master potter) 1j
Minimalist master Dan Flavin created his iconic light sculptures from
industrial light tubing and dedicated each one to individuals he admired. This
piece is part of Flavin’s 1990 series that was dedicated to artist Lucie Rie,
an accomplished Austrian-born ceramist who spent most of her life in England.
Flavin met Rie in London and owned several of her pots. This prime example from
the series is the second in an edition of five from 1990, of which only three
were fabricated. Though each piece alludes to a specific individual, Flavin
emphatically denied any symbolism behind his light sculptures and purported
that they were simply light responding to a specific space, once stating, “it is
what it is and it ain't nothing else.” Flavin’s use of color is said to be
based on his own intuition, through which he manages to merge conceptions of light
and color., Untitled (SFP 64-3)
Likely as a result of his American
roots and frequent stays in Paris, Sam Francis is often considered to fall
stylistically somewhere between Abstract Expressionism and Art Informel.
Influenced by the “suggestive color” technique of the Impressionists, Francis
once famously said
make the late
pure.” He developed a unique style, employing discrete yet interlocking shapes
of primary colors over a luminous white background. These elements of his style
are evident in this work, a 10-foot-tall canvas in which Francis controls his
tendency towards expressive gesture, carefully activating the canvas by
focusing on the edges.
While her formative years took
place amidst New York’s Abstract Expressionist scene, surrounded by the likes
Joan Mitchell spent her mid and late career in France. First living in Paris
before settling, like so many Impressionists and
Post-Impressionists, in the countryside of Vétheuil, Mitchell was taken by the French landscape and its
flora. In an interview
1986 she said: “Sunflowers are something I feel very intensely. They look
so wonderful when young and they are so moving when they are dying. I don’t
like fields of sunflowers. I like them alone or, of course, painted by
Painted two years before her death, this large-scale diptych work is part of
her series of sunflower paintings, reflecting her bold expressionist impulse,
and her vibrant, abstract take on traditional subject matter.
On view at Galerie Thomas,
The Armory Show, Pier 92, Booth 208, Mar. 6th–9th, 2014.