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Fergus McCaffrey
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Happy Holidays & Warm Wishes for 2017! #FMNewYork is closed from December 23, 2016 to January 3, 2017.

November 3 - January 7, 2017

November 3, 6:00-8:00 PM

Fergus McCaffrey is proud to present its third solo exhibition of Jiro Takamatsu (1936-1998), featuring paintings, sculptures, photographs, text works, and drawings dating from 1966 to 1978.

Perhaps the most influential artist working in Japan during the 1960s and 1970s, Jiro Takamatsu altered the evolution of visual art in Japan as an artist, theorist, and teacher. As a cofounder of the legendary collective Hi Red Center in 1963 and the central inspiration for Mono-Ha, Takamatsu dominated Japanese artistic discourse during these years.

His work would be incomprehensible without acknowledging the discourse and aesthetic precedents of Surrealism and Minimalism, as well as his background in the Anti-Art and Neo-Dada movements. A contrarian by nature, Takamatsu challenged the prevailing orthodoxy of paintings purged of representation and sculptures that emphasized truth to materials and the antiillusional.

Takamatsu had studied painting at the Tokyo National University of Fine Arts and Music but had become disillusioned by its limitations. Thus when he began making Shadow paintings in 1964, he was searching for a new foundation to reimagine the practice. Key to this reappraisal was Pliny’s story of the origin of painting with the tracing of a shadow, and Takamatsu began making intriguing visual puzzles with single or multiple cast shadows of people and objects (often distorted) in gray paint on white wooden supports and canvases. In most cases, the person or object casting the shadow is missing, creating a pictorial and narrative absence. The Shadow paintings are wide open to interpretation in all manner of formal, psychological, and sociopolitical terms.

In 1966, Takamatsu began to explore the visual fiction of perspectival depth and a parallel interrogation of sculptural forms. Perspective Painting (1967) simultaneously affirms and denies its own coherence, as the rules of perspective are played against each other on the same panel. In sculpture, the distortion and deconstruction of the cube and the grid yielded further innovations. Cube 6 + 3 (1968) negates the materiality of a blue wooden cube through the addition of red perspective lines that from one viewing point suggests the cube is transparent. To create Slack of Net (1968-69), he inserted excess rope throughout a square grid, to create a soft sculpture that sagged and yielded to gravity. Takamatsu attacked Oneness of Plaster (1970-71) and Oneness of Concrete (1971) with a chisel, challenging and fracturing the symbolic authority of these high modernist forms. His Compound series followed, addressing multiple forms in combination, emphasizing the physical interaction created between them. In works such as Compound (1972), he took utilitarian objects - such as a ladder and a brick - and removed their functionality to create a new abstract relationship between the two elements. He also created complex compounds of the same or similar materials, such as Compound No. 747 (1976), opening up three-dimensional structures and connecting them to the underlying lines and planes of the surrounding space.

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#Preview of our booth 0.A52 +FIAC
© Marcia Hafif / Natsuyuki Nakanishi; Courtesy of Fergus McCaffrey

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Visit us at booth 0.A52

Following the success of last year’s booth, our presentation includes works dated between 1954 to 1972 and after from the most significant avant-garde art collective of Japanese post-war art history, the Gutai Art Association. The seminal artists presented here include Sadamasa Motonaga, Shozo Shimamoto, Kazuo Shiraga, Chiyu Uemae, Toshio Yoshida, and Jiro Yoshihara.

A further booth highlight is a selection of works by Marcia Hafif from the 1960s and works by Natsuyuki Nakanishi, who was a founding member of the experimental group Hi Red Center.


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Carol Rama
Fergus McCaffrey
8 September – 22 October

With more than 40 works dating from the 1930s up into the 2000s, this is an exceptional presentation of the work of an underappreciated artist... READ MORE:

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Conceptual Art: The 25 Most Collectible Artists
Blouin Art + Auction September Issue
Jiro Takamatsu, 1936-1998, Japan
"Takamatsu is almost anti the Western Minimalist ideal of truth to materials," says McCaffrey. "He's saying,'Look at the games I can play with this or look at the way I can attack the pillars of Minimalism and Postminimalism and create something new.'"

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Come and visit us at FIAC 2016!
France’s premier contemporary art fair, Paris’ FIAC, has undergone an important expansion this year. Along with several new sections—including Parades, a performance festival—the fair has taken up a new venue, the Petit Palais, which will serve alongside its more traditional counterpart: the Grand Palais. This change comes with the addition of over 40 new galleries exhibiting for the first time, bringing the total up to 186 (compared to 170 last year). #FMFIAC

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“Some sculpture is illustrative; discursive, literary in its thrust; and that doesn't interest me much. But some sculpture is terse, stubborn, wordless; almost stolid in its intensity. It sits there and glares. It is.”

-Richard Nonas

"Richard Nonas: The Man in the Empty Space" is currently on view at MassMoca through September 5. Transforming their largest gallery in a monumental exhibition that features both an overview of past works and
a new site-specific commission for some 15,000 sq. ft. of space, this is one extraordinary show you do not want to miss.

Read more about this dynamic exhibition and
#RichardNonas’ thoughts on sculpture and his process through the link below.

#MASSMoCA #FMRichardNonas #Sculptures

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Thank you ARTnews Magazine for the fantastic review of 'Marcia Hafif: The Italian Paintings, 1961-1969'! Great way to close the show!

#FMMarciaHafif #FMNewYork #FergusMcCaffrey
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