Lance Pearce: art object

Lance Pearce, Untitled (2010), Mirror sheets, adhesive tape.

Light and space

Larry Bell, 20" Untitled (Tom Messer Cube) (1969), Glass, stainless steel.

'Larry Bell's "glass cube" manifests the "less is more" aesthetic that drove much twentieth-century geometric abstraction. Reducing compositional elements to a minimum is, however, a risky artistic endeavor; viewers often find the work simplistic, without visual interest, and nothing more than a modernist joke. Artists, on the other hand, have conceived reductivism as a means to distill form to a purer essence, to focus on a medium's constituent elements, and to produce a distraction-free work that can induce a contemplative, even spiritual attitude.'

Mark Thistlewaite in Modern Art Museum of Fort Worth, Modern Art Museum of Fort Worth 110, ed. Michael Auping, Fort Worth, Texas: Modern Art Museum of Fort Worth; London: Third Millennium Pub., 2002, 215. 

'Bell's pristine objects heighten our sensitivity to the mundane world - one moment at a time - revealing, in the process, that ordinary things are simple only when their complex details are casually overlooked or aggressively ignored.'

David Pagel, 'Larry Bell' (exhibition review), Art Issues, 51:46, Jan-Feb 1998.

Lance Pearce: art object

Lance Pearce, Too Bad for the Egg (for Robert Filliou) (2010), Canvas, egg.

Lance Pearce, Too Bad for the Egg (for Robert Filliou) (detail) (2010), Canvas, egg.

 

Lance Pearce, Too Bad for the Egg (for Robert Filliou) (detail) (2010), Canvas, egg.

Lance Pearce, Too Bad for the Egg (for Robert Filliou) (detail) (2010), Canvas, egg.

Lance Pearce: art object

Lance Pearce, Untitled (2010), Canvas, ice, clamp.

 

Lance Pearce, Untitled (2010), Canvas, ice, clamp.

Lance Pearce, Untitled (2010), Canvas, ice, clamp.

Lance Pearce: art object

Lance Pearce, Untitled (2010), Timber.

Lance Pearce, Untitled (2010), Timber.

Lance Pearce: art object

Lance Pearce, Untitled (2010), Building paper.

Lance Pearce: art object

Lance Pearce, Untitled (2010), Acrylic, timber.

Lance Pearce, Untitled (2010), Acrylic, timber.

Lance Pearce: art object

Lance Pearce, Untitled (2010), Timber, hardware.

Lance Pearce, Untitled (2010), Timber, hardware.

Lance Pearce: art object

Lance Pearce, Untitled (2010), Canvas, timber, clamp.

Lance Pearce, Untitled (2010), Canvas, timber, clamp.

 

Lance Pearce, Untitled (2010), Canvas, timber, clamp.

 

Lance Pearce, Untitled (2010) (detail), Canvas, timber, clamp.

Lance Pearce: art object

Lance Pearce, Untitled (2010), Light bulb, hardware, canvas.

Lance Pearce, Untitled (2010), Light bulb, hardware, canvas.

Lance Pearce: art object

Lance Pearce, Untitled (2010), Timber.

Lance Pearce, Untitled (2010), Timber.

Lance Pearce: art object

Lance Pearce, Untitled (2010), Wire, timber.

Lance Pearce, Untitled (2010) (detail), Wire, timber.

Lance Pearce: art object

Lance Pearce, Untitled (2010), acrylic, butter paper.

Lance Pearce: art object

Lance Pearce, Untitled (2010), Building Paper, adhesive tape.

Lance Pearce, Untitled (2010), Building Paper, adhesive tape.

Self-reflexive painting

Frank Stella, The Marriage of Reason and Squalor, 11 (1959), Enamel on canvas.

'In each half of The Marriage of Reason and Squalor, 11, stripes outline stripes in an inverted U shape, a regular, self-generating pattern. Filling the canvas according to a methodological program, Stella suggests an idea of the artist as laborer or worker.'

The Museum of Modern Art, MOMA Highlights, New York: The Museum of Modern Art, revised 2004, originally published 1999, 23.

 

Lance Pearce: art object

Lance Pearce, Untitled (2010), Building paper, adhesive tape.

Lance Pearce, Untitled (2010), Building paper, adhesive tape.

A little help from my friends

Lucio Fontana, Spatial Concept: Expectations (1960), Slashed canvas, gauze.

Richard Aldrich, Degrees of Separation Crossing (and with Shadows) (2007), Oil, wax, collage on cut linen.

Lance Pearce, Untitled (Gift) (2010), Acrylic, slashed canvas, adhesive tape.

Lance Pearce: art object

Lance Pearce, Untitled (2010), Adhesive tape.

Lance Pearce, Untitled (2010), Adhesive tape.

Lance Pearce, Untitled (2010), Adhesive tape.

Lance Pearce: art object

Lance Pearce, Untitled (2010), Adhesive tape.

Lance Pearce: art object

Lance Pearce, Untitled (2010), Timber, acrylic.

Lance Pearce, Untitled (2010), Timber, acrylic.

 

 

The space and the viewer

Lance Pearce, Untitled (2010), Photography.

Robert Morris, Plywood Show (1964) exhibition, installation view, Painted plywood.

'Though as simple as possible, Morris' structures changed their appearance according to the viewers perspective and location in the gallery space, reminding us that, as French avantgardist, Marcel Duchamp had put it, it is always the viewer who makes the picture.'

Daniel Manzona and Uta Grosenick, Minimal Art, Koln; Los Angeles: Taschen, c2004, 78.

Coherent patterns

Lance Pearce, Untitled (2010), Photography.

Lance Pearce, Untitled (2010) Installation view, Timber, hardware.

A glitch in the machine

Terry Haggerty, Installation view (2009), CCNOA.

Sol Lewitt, Wall Drawing# 136 Arcs and lines (1972), Graphite.

'In conceptual art the idea of concept is the most important aspect of the work ... The idea becomes a machine that makes the art.'

Sol Lewitt, 'Paragraphs on Conceptual Art', Alexander Alberro and Blake Stimson, eds., Conceptual Art: A Critical Anthology, Cambridge, Mass.: MIT Press, 1999 12.

 'For what we find is the "system" of compulsion, of the obsessional's unwavering ritual, with its precision, its neatness, its finicky exactitude, covering over an abyss of irrationality. It is in that sense design without reason, design spinning out of control.'

Rosalind Krauss, 'LeWitt in Progress', October 6 (Autumn 1978), 56.

Lance Pearce: art object

Lance Pearce, Untitled (2008), Acrylic.

Lance Pearce, Untitled (2008), Acrylic.