Installation view, Merrill Wagner, David Zwirner, New York, 2022
David Zwirner is pleased to announce an exhibition by American artist Merrill Wagner at the gallery’s 34 East 69th Street location in New York. Bringing together works from throughout her career on a variety of conventional and unconventional supports—ranging from canvas and paper to slate, stone, steel, and Plexiglas—the presentation will provide an overview of Wagner’s expansive approach to abstraction and painting. This will be the artist’s first exhibition at the gallery since the announcement of her representation in 2021.
In its emphasis on the materiality and mutability of paint, Wagner’s inventive work elides the categories of painting, relief, sculpture, and installation. Emerging in the 1960s, at a time when minimalism and post-minimalism had superseded abstract expressionism as the dominant aesthetic idioms, Wagner both eschewed and embraced their primary concerns, creating rigorous, hard-edged abstract compositions that subtly referenced landscape. By the mid-1970s, Wagner largely moved away from canvas and looked to nontraditional supports as surfaces for color. These alternative media interested Wagner because of not only their textural appearance but also their allusions to the natural world—resonating with her upbringing in the Pacific Northwest—as well as their inherent connection to process and chance. By integrating the support within the compositional logic of her works, ordering and joining fragments by adding exquisitely considered painted elements—first in geometric formations and later in colorful, allover compositions—Wagner poetically mediates between the natural and the constructed. As curator Robert Storr has described, “Wagner, materialist, formalist, empiricist, and poet of the given and the accidental as well as of the systematically altered, is, in this every respect, an all-American artist to the core.”1
1 Robert Storr, “Matters of Fact and of Vision,” in Merrill Wagner. Exh. cat. (New York: New York Studio School, 2016), p. 20.
Image: Merrill Wagner, Untitled, 1966
Installation view, Merrill Wagner, David Zwirner, New York, 2022
Since the 1960s, American artist Merrill Wagner has created a distinctive body of work that elides the categories of painting, relief, sculpture, and installation.
Bringing together works from throughout her career on a variety of conventional and unconventional supports—ranging from canvas and paper to slate, stone, steel, and Plexiglas—Merrill Wagner provides an overview of the artist’s expansive approach to abstraction and painting.
Merrill Wagner, Watch, 1992 (detail)
Emerging in the 1960s, at a time when minimalism and post-minimalism had superseded abstract expressionism and become the dominant aesthetic idioms, Wagner both eschewed and embraced their primary concerns, creating rigorous, hard-edged abstract compositions that subtly referenced landscape.
By the mid-1970s, Wagner had largely moved away from canvas and looked to nontraditional supports as surfaces for color. These alternative media interested Wagner not only because of their textural appearance, but also their allusions to the natural world—resonating with her because of her upbringing in the Pacific Northwest—and their inherent connection to process and chance.
Merrill Wagner’s studio in Pennsylvania, 2003. © Merrill Wagner Studio
Wagner’s investigation into the creative possibilities of using found and non-traditional materials was further spurred when she received a large quantity of slate chalkboards and fragments that had been removed during the renovation of P.S.1 Contemporary Art Center in Long Island City, New York. While the artist had previously used slate as a support for her paintings, with this donation, slate became the artist’s primary focus during the late 1970s and 1980s.
“Her objects—broken slate pieces, used or new metal sheets, or discarded junk—embodied her interest in nature, the process of chance, and an insistence on the real.”
—Tiffany Bell, curator and art critic
Standing six feet tall and almost as wide, Outerbridge Crossing (1986) is an impressive example from this body of work; the monumental slate sculpture reads at once as a mountain range, a seascape, a quarry, and a horizon line. Composed of rectangular planks of varying size as well as a small curved fragment, the geometry of the work is further accentuated by vertical bands of blue paint.
The undulating form of this work, which takes its name from the bridge that spans between New York’s Staten Island and New Jersey, is ultimately reminiscent of both the structure itself and the body of water across which it stretches.
Installation view, Merrill Wagner, New York Studio School, 2016
Installation view, Merrill Wagner, New York Studio School, 2016
Wagner also began to use tape, which she had previously included as a minor component in some works, as a primary element in her compositions. Rendered on Plexiglas or paper, and enhanced with pencil, oil paint, or pastel, the tape works on view retain Wagner’s earlier emphasis on form but represent an important evolution in her practice wherein process and form become intrinsically linked and the transient nature of her material is revealed.
Merrill Wagner, Untitled, 1979 (detail)
Merrill Wagner in her studio in Pennsylvania, 2003. © Merrill Wagner Studio
Installation view, Merrill Wagner, David Zwirner, New York, 2022
The earliest work in the exhibition, Untitled (1966), was created shortly after Wagner graduated from The Art Students League of New York, where she trained under figurative painters Edwin Dickinson, George Grosz, and Julian E. Levi from 1959 until 1963. A study of color and form, this monochromatic, hard-edge painting features a large red circle delineated with a thin, curving line of white and set against a vermillion ground.
Extending her interests in process, chance, and the transformational effects of time, Wagner has also created a number of outdoor, site-specific interventions in unassuming locations, such as on fences and rock outcroppings. She leaves these works unprotected from the elements, to fade over a long period of time, and documents their changes in photographs.
“Wagner exposes her work to the elements and the effects of time, effectively ensuring its demise. On one level, she enables time and weather to diminish the material presence of the painting, in effect wear it away. This simple, straightforward act underscores what we all know to be true but often ignore: nothing lasts, not even art.”
—John Yau, poet, art critic, and curator
In the suite of images entitled Blue, Summer Studio 1985–2003 (2017), Wagner details the transformation of a wooden fence on her property in Tacoma, Washington—which she and her family returned to every summer during that period—onto which she painted squares in varying shades of blue in an eight-by-eight grid, with an additional row and column of rectangles.
Over the course of the photographs—and eighteen years—the foliage around the fence grows, small red apples appear dangling from branches, the grass yellows and turns green again, the fence itself deteriorates, and the blue squares fade at differing rates. As much about the evolution of the surrounding landscape as it is about the artist’s painted intervention, this photographic suite of Wagner’s makes visible the passage of time.
Examples of Wagner’s stone paintings will also be on view. Untitled (1995) is a small wall work comprising a piece of marble placed next to an irregularly shaped, dark gray stone. Crooked Strait (1995) is a meandering, floor-based work composed of eight pieces of stone, fit together and connected by a line of oil pastel that runs straight through each fragment. With these works, Wagner responds intuitively to the color, form, and size of her chosen stones, adding graphic lines in oil pastel or broad swaths of paint.
By integrating the support within the compositional logic of her works, and ordering and joining fragments by adding exquisitely considered painted elements—first in geometric formations and later in colorful, allover compositions—Wagner poetically mediates between the natural and the constructed.
“Wagner, materialist, formalist, empiricist, and poet of the given and the accidental as well as of the systematically altered, is, in this every respect, an all-American artist to the core.”
—Robert Storr, curator
Installation view, Merrill Wagner, David Zwirner, New York, 2022
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