The Thick Lines Between Here And There

October 25 – December 8, 2018

Richard Long
Untitled (D, E, F - Vertical), 1994
Suite of three lithographs printed in black on hemp paper
33 x 21 1/2 in. / 83.8 x 54.6 cm. each
Edition of 40

Thaiwijit Puengkasemsomboon
Untitled (pink, black, orange), 2017
Oil on canvas
28 7/8 x 21 3/8 in. / 73 x 54 cm.

Sam Francis
Untitled, 1985
Acrylic on canvas
7 1⁄8 x 5 1⁄2 inches

 

Robert Rauschenberg
Spot, 1964
Lithograph
41 1⁄4 x 29 5⁄8 in. / 105.4 x 75.3 cm.
Edition of 37

 

Thaiwijit Puengkasemsomboon
Untitled (grid), 2017
28.7 x 21.3 in (73 x 54 cm) 

 

Robert Motherwell
Roth-Händle, 1975
Brushed aquatint and collage
19 1/2 x 15 5/8 in. (49.5 x 39.7 cm)
Edition of 53

 

Somluk Pantiboon
Untitled (Yellow, Blue), 2018
clay pigment and acrylic on mulberry paper
42.9 x 33.1 in (109 x 84 cm) 

 

Angkrit Ajchariyasophon
1803, 2018
Oil on canvas
47 1/4 x 35 3/8 in. / 120 x 90 cm.

Larry Zox
Untitled (Pochoir I-V), 1975
Suite of five color stencil prints, printed
with water-colors and gouache
23 1⁄8 x 22 inches each
Edition of 20

 

Robert Rauschenberg
Kip Up, 1964
Lithograph
41 1/4 x 29 5/8 in. / 104.7 x 75.3 cm.
Edition of 33

Franz West
Klienes Passstuck (Small Adaptive), 2001
Epoxy casting with painted wood base and
photo-certificate
74 3/8 x 7 7/8 x 9 1/8 in / 189 x 20 x 23 cm.
Edition of 25

 

Mit Jai Inn
Untitled (#ANY-1), 2018
oil on canvas, 2 sides
29.5 x 118.1 in (75 x 300 cm)
 

Somluk Pantiboon
Untitled (Pink, Yellow, Brown), 2018
clay pigment and acrylic on mulberry paper
42.9 x 33.1 in (109 x 84 cm) 

 

Gary Stephan
If - Then, 1974-75
Suite of six aquatints on
Handmade paper
19 1⁄2 x 25 1⁄2 in. / 49.5 x 64.8 cm. each
Edition of 50

 

Robert Motherwell
Talith for Meyer Shapiro, 1973
Aquatint
41 1⁄2 x 29 1⁄2 in. / 105.4 x 79.4 cm.
Edition of 10

 

Thaiwijit Puengkasemsomboon
Untitled (Monochrome 1), 2017
oil on canvas
47.2 x 35.4 in (120 x 90 cm) 

 

Robert Mangold
Fragment VIII, 2000
Color lithograph
36 1⁄2 x 70 in. / 92.7 x 177.8 cm.
Edition of 48

 

Mit Jai Inn
Untitled (#ANY-2), 2018
Oil on canvas, 2 sides
31 1/2 x 137 7/8 in. / 80 x 350 cm.

Thaiwijit Puengkasemsomboon
Untitled (Purples), 2017
oil and spray paint on canvas
47.2 x 35.4 in (120 x 90 cm)

 

Robert Rauschenberg
Front Roll, 1964
Lithograph
41 1⁄2 x 29 3⁄4 in. / 105.4 x 75.6 cm.
Edition of 39

 

Thaiwijit Puengkasemsomboon
Untitled (Grey with Pink), 2017
oil on canvas
28.7 x 21.3 in (73 x 54 cm) 

 

Richard Tuttle
In Praise of Historical Determinism I, II, III, 1974
Suite of three color lithographs
30 x 22 in. / 50.8 x 55.9 cm. each
Edition of 50

Angkrit Ajchariyasophon
1608, 2016
oil on canvas
47.2 x 35.4 in (120 x 90 cm) 

 

Franz West
Creativity: Furniture Reversal, 1998
Two chairs, table, lamp, colored duct tape
and video (which colapses into its own crate)
28 1/2 x 38 x 28 in. / 72.4 x 96.5 72.1 cm. (closed dimensions)
Edition of 30

Angkrit Ajchariyasophon
1803, 2018
oil on canvas
47.2 x 35.4 in (120 x 90 cm)

 

Thaiwijit Puengkasemsomboon
Untitled (yellow stripe), 2017
oil on canvas
28.7 x 21.3 in (73 x 54 cm) 

 

Richard Tuttle
Fluidity of Projection, 2008
Double-sided screenprint on handmade
paper, with die-cut and deckle edges in a wall-
mountable frame
15 x 15 1⁄4 x 2 1⁄8 in. / 38.1 x 38.7 x 5.3 cm.
Edition of 30

 

Robert Motherwell
The Berggruen Series, 1979-80
Suite of four color lithographs
16 x 16 1⁄2 in. / 40.6 x 41.9 cm. each
Edition of 100

 

Sam Francis
Untitled, 1980
Black acrylic paint on paper
18 3/4 x 15 1/4 in. / 47.6 x 38.7 cm.

Robert Motherwell
The Paris Series (I-IV), 1980
Suite of four lithographs
Dimensions variable:
average 19 x 20 in. / 48.3 x 50.8 cm. each
Edition of 60
 

Larry Zox
Untitled, 1971
Color aquatint with pochoir
25 1/2 x 37 1/2 in. / 64.8 x 95.3 cm.
Editon of 34

Somluk Pantiboon
Clay Courage (001), 2017
Clay pigment on canvas
47 1/4 x 35 3/8 in. / 120 x 90 cm.
 

Robert Mangold
Fragments I-VII 1997-98
Suite of seven color lithographs 
Each: 24 x 18 in. /61 x 45.7 cm. each
Edition of 25 

Press Release

The Thick Lines Between Here and There

Co-curated by Keith Schweitzer & Owen Houhoulis
October 25 - December 8, 2018


This dual-gallery exhibition brings four of Thailand’s most admired abstract painters together for the first time, offering a bold view into the country’s burgeoning & reinvigorated contemporary art scene. At the same time, they are presented alongside a number of complimentary artists from Europe and America who approach Abstraction from their own diverse perspectives. In this way, the artists participate in a contemplative conversation that moves across oceans and through time.
 

Angkrit Ajchariyasophon is an accomplished practitioner of non-objective Thai abstraction, and has also long championed fellow Thai artists in his independent gallery “Artist+Run.” His galleries in Bangkok and Chiang Rai have become central gathering places for highlighting the current intergenerational community of Thai artists. Working from a deep-seated fear “of disappearing,” Ajchariyasophon’s own artwork goes beyond the aesthetic and engages interaction to foment change. His vertical line paintings are inspired by the walking meditations of local Buddhist monks: through slowly repeated applications he mirrors their attempts to “know all moments.” American artist Sam Francis was deeply influenced by Zen Buddhism, but combined it with an energetic form of automatism to create dynamic abstract expressionist paintings. His distinct canvases hum and sing with lively strokes and splatters of brilliant color. These dancing gestures are mirrored in the mid-1960s lithographs of Robert Rauschenberg. Devoid of color, they instead represent a bold turning point in his storied career. Having found a cache of used New York Times image plates, Rauschenberg combines brushstrokes with ghostly images of the quotidian world. 
 

Thaiwijit Puengkasemsomboon has long been a highly regarded torchbearer of Abstract Expressionism in Thailand. Both a painter and a sculptor, many of his works are created reactively as he listens to improvisational jazz. Robert Motherwell was a prolific American painter, collage-artist and printmaker. He brought a literary influence to his studies of Surrealism and, later, as a founding member of the famed New York School of Abstract Expressionists. His works are often defined by the combination of bold black gestures with fields of pure color. Painter Larry Zox was a member of the following Lyrical Abstraction movement. Removing gesture and brushstroke, Zox is known for depicting rigid and angular color shapes that were articulated by white line borders. These lines added a sense of structure as well as a sense of directional momentum to Zox’s works.
 

Mit Jai Inn apprenticed under contemporary artist Franz West in Vienna in the late 1980s. He is known for defying conventional boundaries, both physically and conceptually, with artworks that often appear as hybrid objects: paintings that could be sculptures, or sculptures that incorporate painterly methods. Mit Jai Inn’s works on display here are an example of this, as they relinquish to viewers control over how they are displayed or arranged. This notion is mirrored in the work of Franz West himself, a visual democrat whose sculptures were meant to be not only seen but also engaged by all viewers. With his “Creativity: Furniture Reversal,” the artwork is actually created by the viewer, as it is unpacked, arranged and colored with duct tape however a group or individual intends. American Richard Tuttle, on the other hand, started as a consummate Minimalist, in terms of both structure and gesture. However, over time his mark / form making has transformed. Originally working with simple touches, like sparse musical notes on a page, he has also been known to combine random but busy line work, or to create a whimsical assemblage of found material. Gary Stephan has remained a structuralist. A Postmodernist, Stephan has remained focused on approaching abstract forms in a that way bends them into some new, not quite known, other. These shapes can be affected, or cropped, or rotated in a way that forces viewers to look beyond their surface.
 

Somluck Pantiboon, a celebrated Japan-trained Thai master ceramicist, extrapolates his 3D sculptural forms across flat surfaces to produce paintings using clay pigments. Together with his wife Tamako, Somluck founded the Doi Din Daeng Pottery Center in Chiang Rai. Here he fuses Japanese and northern Thai techniques into works with a distinctly earthen look. His constant oscillating between abstract painting and the sculpting of useful objects serves to promote his artistic and teaching belief that “Art must be in harmony with society.” This sense of harmony and earth tones is reflected in certain works by Robert Mangold. A primary Minimalist painter, here we encounter his “Fragments” series. Using a number of already damaged lithograph stones as his starting point, Mangold allowed their cracked and jagged edges to define his options. The resulting impressions, in deep browns, greens and yellows, are held together by a series of both thick black stripes and thin, linear black ellipses. These small black gestures are reflected in Richard Long’s series of his own thumb-prints on hemp paper. As a nature-based conceptual artist, Long is best known for documenting his long walks through landscapes. He also collects rock and mud samples, which he later uses to create floor sculptures or large, dripping wall murals. With all of his work, the artist melds into his surrounds and the materials of the environment.
 

The Thick Lines Between Here And There is co-curated by Keith Schweitzer and Owen Houhoulis. It is a dual-gallery exhibition taking place in coordination with Brooke Alexander Inc., which has contributed greatly to this global endeavor.