Minimal-Maximal

Larry Bell, Lynda Benglis, John Dubrow, Helen Frankenthaler, Grace Hartigan, Minjung Kim, Park Kwang-Jin, Kenneth Noland, Joe Ramirez, Jesús Rafael Soto, Joan Snyder, Frank Stella, Hiroko Takeda, Joan Witek Hunter Dunbar Projects presents Minimal-Maximal, a group exhibition juxtaposing distinct modes of abstraction. Organized by Hayden Dunbar and Benjamin R. Hunter, Minimal-Maximal brings together twentieth century and twenty-first century approaches to abstraction at their most extreme poles – refinement and expression. Joan Snyder’s monumental work Women Make Lists (2004) highlights the vibrant tendencies of non-objective painting and Kenneth Noland's Wood (1977) emphasizes the strong, colorful geometry that characterized Color Field painting. This presentation includes works by Larry Bell, Lynda Benglis, John Dubrow, Helen Frankenthaler, Grace Hartigan, Minjung Kim, Park Kwang-Jin, Joe Ramirez, Jesús Rafael Soto, Frank Stella, Hiroko Takeda, and Joan Witek. Minimalism emerged initially in the 1960s, foregrounding an artwork’s formal elements – line, space, edge, and orderly composition. Adolph Gottlieb and Mark Rothko once described their approach as the “simple expression of a complex thought,” a sentiment that succinctly describes the movement. This seeming simplicity came as a stark contrast to the gestural aesthetic that defined Abstract Expressionism in the decades prior.