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Photo Credit: Elisabeth Bernstein

New York Dancer I, 1965nails, cloth, metal, electric motor78 3/4 x 11 3/4 x 11 3/4 inches

White Bird, 1969-70wood, white paint, nails15 3/4 x 15 3/4 inches

Flower, 1968nails on canvas on wood23 5/8 x 23 5/8 inches

White Sphere, 1961white paint over nails on wooden sphere6 11/16 inches (diameter)

Drawing for White Spherepencil on paper24 x 16 15/16 inches

Fire Painting (Thick Painting), 1964nails on canvas on wood36 1/4 x 28 3/4 x 6 1/3 inches

String Chair, 1969kitchen chair with back and seat cover with long strings pulled through holes34 1/4 x 16 1/8 inches

Spiral, 1958oil on canvas39 3/8 x 39 3/8 inches

Light Globe, 1961white paint over nails on wooden sphere6 11/16 inches (diameter)
 

Diagonal Division, 1969-74nails on canvas on wood39 3/8 x 39 3/8 inches
 

Light-Disk, 1966nails on canvas on wood, wooden case, electric motor, spotlight31 1/2 x 31 1/2 inches

Sand Mill, 1970sand, wood, cord, electric motor118 inches (diameter)

White Bird, 1964titanium white paint and nails on canvas laid down on panel59 x 59 inches

Homage to Fontana II, 1962nails and graphite on canvas on wood39 3/8 x 31 1/2 inches

Organic Structure, 1960nails on paperboard in wooden case, white40 1/2 x 40 1/2 inches

Column, 1959nails and graphite on canvas on paperboard, glue27 1/2 x 6 1/4 inches

Oval Structure, 1957charcoal, applied from the back11 3/8 x 10 5/8 inches

Five Light Disks, Cosmic Vision, 1961-1981nails on canvas on wood, wooden case, electric motor, spotlight94 1/2 x 283 1/2 x 15 3/4 inches

Photo Credit: Elisabeth Bernstein

New York Dancer I, 1965nails, cloth, metal, electric motor78 3/4 x 11 3/4 x 11 3/4 inches

White Bird, 1969-70wood, white paint, nails15 3/4 x 15 3/4 inches

Flower, 1968nails on canvas on wood23 5/8 x 23 5/8 inches

White Sphere, 1961white paint over nails on wooden sphere6 11/16 inches (diameter)

Drawing for White Spherepencil on paper24 x 16 15/16 inches

Fire Painting (Thick Painting), 1964nails on canvas on wood36 1/4 x 28 3/4 x 6 1/3 inches

String Chair, 1969kitchen chair with back and seat cover with long strings pulled through holes34 1/4 x 16 1/8 inches

Spiral, 1958oil on canvas39 3/8 x 39 3/8 inches

Light Globe, 1961white paint over nails on wooden sphere6 11/16 inches (diameter)
 

Diagonal Division, 1969-74nails on canvas on wood39 3/8 x 39 3/8 inches
 

Light-Disk, 1966nails on canvas on wood, wooden case, electric motor, spotlight31 1/2 x 31 1/2 inches

Sand Mill, 1970sand, wood, cord, electric motor118 inches (diameter)

White Bird, 1964titanium white paint and nails on canvas laid down on panel59 x 59 inches

Homage to Fontana II, 1962nails and graphite on canvas on wood39 3/8 x 31 1/2 inches

Organic Structure, 1960nails on paperboard in wooden case, white40 1/2 x 40 1/2 inches

Column, 1959nails and graphite on canvas on paperboard, glue27 1/2 x 6 1/4 inches

Oval Structure, 1957charcoal, applied from the back11 3/8 x 10 5/8 inches

Five Light Disks, Cosmic Vision, 1961-1981nails on canvas on wood, wooden case, electric motor, spotlight94 1/2 x 283 1/2 x 15 3/4 inches

Press Release - OLD

Renowned in Europe, Uecker visited and lived in New York in 1965 and 1966. He had his first solo exhibition in the United States at the Howard Wise Gallery on West 57th Street, showing important work such as the kinetic New York Dancer I (1966), also featured at L&M Arts. When in motion, thousands of long nails protrude from a heavy sailcloth covering and dematerialize into an optical blur.

 

At the time of the Howard Wise exhibition, Uecker was an established artist in Germany – part of the inner circle of the Zero Group. This loose association of artists were united by like desires, notably to eradicate the burden of pictorial content and emotionalism from their work. Since that time, Uecker has continued his exploration into an art form he describes as “a journey towards painting.”

 

According to Dieter Honisch, Uecker has always maintained a manual relationship to art. In a powerful early painting, Black Lung (1957), Uecker uses his fingers to manipulate the paint forming a sculpted, material surface; dark and monochromatic, it is at once erotic and vacant. Later, nails would help Uecker objectify the surface, bringing a functional tool into the aesthetic realm. In Homage to Fontana II (1962), the nail is both an instrument of aggression and a source of textural beauty freed from pictorialism. Even banal objects were subjected to the artist’s ritualistic procedure. In works such as Chair II (1963) and Nailed-Over Table (1964), Uecker ironically subjugates functionality to artistic labor.

 

Uecker has explored diverse media, among them earth, light, and his own body. In all forms, we find the artist’s preoccupation with humanity – particularly the subjective and contradictory relationship each person forms with their surroundings. Perpetual kinetic spirals of sand and light speak to this uniquely physical brand of mysticism, as in Sand Mill (1970) and Uecker’s large-scale, five-part masterpiece, Five Light Disks, Cosmic Vision (1961-1981).

 

His work can be found in the collections of major institutions worldwide, among them: The Museum of Modern Art, New York; The Art Institute of Chicago, Chicago; The Museum of Contemporary Art, Los Angeles; Georges Pompidou Centre, Paris; Stiftung museum kunst palast, Düsseldorf; the Peggy Guggenheim Collection, Venice; and Stedelijk Museum, Amsterdam.

 

The exhibition will feature a fully illustrated catalogue including a recent interview with the artist by Hans Ulrich Obrist.

 

Photo Credit: Elisabeth Bernstein

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