UNTITLED (7-105), 1997
Oil on canvas board
23 1/4 x 29 1/4 inches framed
59.1 x 74.3 cm
Thomas Nozkowski
Thomas Nozkowski was an American painter known for idiosyncratic small-scale abstractions that feature unexpected colors and forms. Though fully abstract, his imagery is drawn from real-world observations, such as celestial constellations, the shape of a tree, and striking forms found in other artists’ works. While his training with Abstract Expressionist artists influenced his improvisational approach, Nozkowski’s penchant for working on a small scale and his playful, cartoon-like style strays from his forebearers’ large-scale brand of abstraction.
Past Features
BLACK JACK
Edition of 5 with 1 AP, 2006
Carbon fiber and aluminum
138 x 158 x 96 inches approx.
350.5 x 401.3 x 243.8 cm
Iñigo Manglano-Ovalle
Through works across many media Iñigo Manglano-Ovalle creates technologically sophisticated and seductive objects and images—from the intimate to the monumental--that speak to expansive and complex issues including climate, war, science, and political power.
The imposing Black Jack (2006) turns a benign everyday object of play into a menacing antagonist. A child’s toy jack is scaled up and made of carbon fiber, a commercial material used to build aircrafts. Nearly touching the gallery ceiling, in its debut at Max Protetch Gallery, Black Jack reads more like a missile than a game.
IRREGULAR TOWER: VENICE, 1997
Concrete blocks
19 x 8 x 16 feet
Sol LeWitt
Sol LeWitt was one of America’s most inventive and influential artists. He created significant bodies of work in two and three dimensions, including drawings, photographs, prints, and sculptures (known as “structures”). An central figure of minimal and conceptual art in the 1960s, LeWitt created works that were executed and constructed by assistants who followed his instructions, transforming how we think about the creative process. LeWitt's concrete block structures are important examples of the artist’s engagement with public space. Irregular Tower was featured at the 47th edition of La Biennale di Venezia, presented in the park setting of Venice's Giardini.
Sol LeWitt began showing with Max Protetch in the early 1970s and had nearly twenty exhibitions with the gallery over four decades.