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Luhring Augustine

Color Space Place

  • Phillip King
  • 0346c93e 6887 4096 c0ca 4eaa876f8946
    Installation view,

Press for Color Space Place

Current Exhibitions at Luhring Augustine


In the Room of Art History

  • Yasumasa Morimura,
  • Opens: Sep. 14, 2018
  • Closes: Nov. 17, 2018
  • Reception: Sep. 14, 2018
  • Hours: 6 - 8pm
  • Admission: free

Simone Leigh

  • Simone Leigh,
  • Opens: Sep. 08, 2018
  • Closes: Oct. 20, 2018
  • Reception: Sep. 07, 2018
  • Hours: 6 - 8pm
  • Admission: free

Color Space Place

  • Phillip King
  • Opens: Jun. 29, 2018
  • Closes: Aug. 10, 2018
  • Reception: Jun. 28, 2018
  • Hours: 6 - 8pm
  • Admission: free

A New Sculpture [EXTENDED]

  • Christopher Wool,
  • Opens: May. 17, 2018
  • Closes: Aug. 30, 2018
  • Reception:
  • Hours: 6 - 8pm
  • Admission: free

Oscar Tuazon

  • Oscar Tuazon,
  • Opens: Apr. 28, 2018
  • Closes: Jun. 16, 2018
  • Reception:
  • Hours: 6 - 8pm
  • Admission: free

Sculpture (Bushwick)

  • Janine Antoni,
  • Tom Friedman,
  • Roger Hiorns,
  • Phillip King
  • Martin Kippenberger,
  • Simone Leigh,
  • Glenn Ligon,
  • Jeremy Moon,
  • Reinhard Mucha,
  • Cady Noland,
  • Oscar Tuazon,
  • Tunga,
  • Rachel Whiteread,
  • Steve Wolfe,
  • Christopher Wool,
  • Zarina,
  • Opens: Mar. 23, 2018
  • Closes: May. 05, 2018
  • Reception:
  • Hours: 6 - 8pm
  • Admission: free

Sculpture

  • Janine Antoni,
  • Tom Friedman,
  • Roger Hiorns,
  • Phillip King
  • Martin Kippenberger,
  • Simone Leigh,
  • Glenn Ligon,
  • Jeremy Moon,
  • Reinhard Mucha,
  • Cady Noland,
  • Oscar Tuazon,
  • Tunga,
  • Rachel Whiteread,
  • Steve Wolfe,
  • Christopher Wool,
  • Zarina,
  • Opens: Mar. 23, 2018
  • Closes: Apr. 14, 2018
  • Reception:
  • Hours: 6 - 8pm
  • Admission: free

Of Earth and Heaven: Art from the Middle Ages

  • Group show,
  • Opens: Jan. 27, 2018
  • Closes: Mar. 10, 2018
  • Reception: Jan. 26, 2018
  • Hours: 6 - 8pm
  • Admission: free

Singles' Mixer

  • Mike Kelley,
  • Opens: Nov. 04, 2017
  • Closes: Jan. 28, 2018
  • Reception:
  • Hours: 6 - 8pm
  • Admission: free

Tokyo Color

  • Daido Moriyama,
  • Opens: Sep. 09, 2017
  • Closes: Oct. 22, 2017
  • Reception:
  • Hours: 6 - 8pm
  • Admission: free

Ghosts and UFOs: Projections for Well-Lit Spaces

  • Tom Friedman,
  • Opens: Sep. 08, 2017
  • Closes: Oct. 28, 2017
  • Reception:
  • Hours: 6 - 8pm
  • Admission: free

When

Jun 29 - Aug 10, 2018

  • Reception: Jun 28, 6 - 8pm

Where

Luhring Augustine

  • 531 West 24th Street, New York NY 10011 Map
  • 212.206.9100

About

Luhring Augustine is pleased to present Color Space Place, an exhibition of new large-scale sculptures by the renowned British artist Phillip King, accompanied by earlier works and maquettes. The exhibition marks the artist’s first solo presentation in the United States in over a decade.

Emerging onto the London art scene in the early 1960s, King remains to this day a pioneering figure in the field of sculpture. His carefully composed abstractions bear an affinity to painting, both through the visual interplay of vibrant hues and a resolute frontality. King creates forms with the aim that his sculptures be perceived in their totality from any single vantage point. The array of materials he employs, such as concrete, steel, fiberglass, polyurethane foam, and wood, each prescribe their own means of construction, presenting King with various challenges surrounding movement, strength, and stability. In this regard, the artist moves beyond purely optical concerns and into the tactile. His interests in architecture inform his approach to scale and spatial relationships where he explores volumes both within and between surfaces.

At the heart of the current exhibition are two large-scale sculptures comprised of geometric planes that intersect each other at tilted angles: Swirl, 2018, and Blue Glow, 2016. Color plays an integral role in delineating surfaces—at times foregrounding flatness through their uniformity, at other times revealing depth and shadows along modulated edges. Circular cutouts offer illusions of lightness that are counterbalanced by solid elements. When viewed in context, such surface openings furthermore draw the sculpture’s background into the work as the artist activates the surrounding architecture via painted walls.

While King’s sizable works are usually presented outdoors and in large public spaces, his smaller maquettes supply a more intimate viewing experience. At pedestal height the maquettes remind the audience of their object-like status. Their enlarged counterparts, whether displayed on walls or directly on the floor, begin to eschew categorizations of sculpture in a formal sense, pushing the medium’s boundaries in different directions.


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