Barry Le Va, ‘Black & Maroon Felt, Glass (Whitney Variations)’, 1967/1998, David Nolan Gallery
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Barry Le Va

Black & Maroon Felt, Glass (Whitney Variations), 1967/1998

Black and red ink, stamped ink, and graphite on paper
7 9/16 × 11 1/4 in
19.2 × 28.6 cm
This is a unique work.
$10,000 - 15,000
Location
New York, Los Angeles
Have a question? Visit our help center.
About the work
Medium
Drawing, Collage or other Work on Paper
Signature
Hand-signed by artist, initialed and dated 'BL 1967-98' lower right recto
Barry Le Va
American, b. 1941
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With unconventional materials and reductive forms, Barry Le Va redefined sculpture by introducing new subjects, formats, and modes of production in the 1960s in tandem with Richard Serra and Eva Hesse, among others. He aimed to mentally engage his audience through process-oriented works (entailing layering, crushing, blowing, and spilling) that take sculpture beyond the traditional notion of fully formed, enclosed matter. Foundational to Process art, the seemingly random arrangements of ball bearings, wooden planks, and pieces of felt that comprised his earliest large-scale installations in the late 1960s entered into a dialogue with their surroundings. Similarly, Tachycardia II (2006), large blocks of aluminum and cast resin placed around a gallery floor, drew attention to the relationship between the objects and the space containing them. Critic Saul Ostrow has noted Le Va’s pursuit of “a rational subjectivity” In his practice.

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Barry Le Va, ‘Black & Maroon Felt, Glass (Whitney Variations)’, 1967/1998, David Nolan Gallery
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Save
Save
View
View in room
Share
Share
About the work
Medium
Drawing, Collage or other Work on Paper
Signature
Hand-signed by artist, initialed and dated 'BL 1967-98' lower right recto
Barry Le Va
American, b. 1941
Follow

With unconventional materials and reductive forms, Barry Le Va redefined sculpture by introducing new subjects, formats, and modes of production in the 1960s in tandem with Richard Serra and Eva Hesse, among others. He aimed to mentally engage his audience through process-oriented works (entailing layering, crushing, blowing, and spilling) that take sculpture beyond the traditional notion of fully formed, enclosed matter. Foundational to Process art, the seemingly random arrangements of ball bearings, wooden planks, and pieces of felt that comprised his earliest large-scale installations in the late 1960s entered into a dialogue with their surroundings. Similarly, Tachycardia II (2006), large blocks of aluminum and cast resin placed around a gallery floor, drew attention to the relationship between the objects and the space containing them. Critic Saul Ostrow has noted Le Va’s pursuit of “a rational subjectivity” In his practice.

Barry Le Va

Black & Maroon Felt, Glass (Whitney Variations), 1967/1998

Black and red ink, stamped ink, and graphite on paper
7 9/16 × 11 1/4 in
19.2 × 28.6 cm
This is a unique work.
$10,000 - 15,000
Location
New York, Los Angeles
Have a question? Visit our help center.
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Other works from David Nolan Gallery
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