Gabriele Evertz

Gabriele Evertz (born 1945 in Berlin[1]) is an American painter, curator and professor who is applying the history and theory of color in her work. She is known for abstract color painting and Geometric abstraction.

Gabriele Evertz
Born
Berlin, Germany
NationalityAmerican
Known forabstract color painting
StyleGeometric abstraction
Websitewww.gabrieleevertz.com

Life and work

Gabriele Evertz emigrated to the United States at the age of 19.[2] She holds an M.F.A. in painting and a B.A. in art history, both from Hunter College where she is teaching since 1998. She is a member of the American Abstract Artists. Gabriele Evertz lives and works in New York. 2012 she received the Basil H. Alkazzi Award for Excellence in Painting.[3]

Evertz is considered a longtime member of the Hunter Color School, along with Doug Ohlson, Robert Swain, Vincent Longo, Joanna Pousette-Dart, and Sanford Wurmfeld.[4] Although all artists have found their own individual means of expression, they are united in their exploration of the phenomenology of color in order to initiate a transformative effect[5] on the viewer.

Gabriele Evertz in front of her work Double, 1999, Acrylic on Canvas

Work

Color to me is the most important problem, it's a pioneering problem, it's a very new experience to not tell a story, not make the color the burden of a symbolic meaning. Just perceive and understand, what the sensation is of color. Intense colors give me that sense of aliveness.

— Gabriele Evertz, Video Gabriele Evertz documentary, 2010

Evertz's paintings consist of vertical lines, for which she uses all colors of the color circle. In her latest compositions she turns to the color grey and its effects on surrounding colors. Occasionally, she also uses metallic colors, as these can reflect the light and set additional color impulses. She often repeats certain color constellations within an artwork.

While viewing the painting, the mind's eye constantly swings between perceiving the entire picture and the concentration on individual aspects of the work. The viewer thus perceives a kind of vibration of the color: The resulting paintings present a barrage of visual information that moves color and form in and out of sequence and symmetry causing the eye to move through undulating, pulsating spaces.[6] This becomes particularly evident when the viewer takes different distances from the picture. The resulting parallax intensifies the experience of the vibration and oscillation of the color.

Without the viewer the painting doesn't exist. The viewer brings the painting to life.

— Gabriele Evertz, Video Gabriele Evertz documentary, 2010

It is solely through the viewers' perception of the composition, through their movement in the room and the resulting different perception of closeness and distance, that oscillation and vibration arise, which turns the viewing of the works into an individual and possibly even spiritual experience: People think geometry is very static, but it isn't. It's moving all the time. I'm keeping the same color sequence but changing the background. so as you engage in it, it changes. The colors are the actors. These are really vessels of contemplation.[7]

Videography (Selection)
  • 2010: Michael Feldmann: Gabriele Evertz Paints a Color Study,[8] 09′ 05″
  • 2010: Michael Feldmann: Gabriele Evertz Documentary,[9] 03′ 21″
  • 2016: Macbamuseo: Geometric Obsession. American School 1965–2015[10] 01′ 54″

Works in Collections (Selection)

Solo Exhibitions (Selection)
  • 2006: LIV, Benton Nyce Gallery, Greenport, New York
  • 2011: Gabriele Evertz – Rapture, Minus Space,[25] New York
  • 2012: Gabriele Evertz – Optic Drive,[26] David Richard Gallery, Santa Fe, New Mexico
  • 2012: Gabriele Evertz – The Geometry of Color,[27] Art Sites Gallery, Riverhead, New York
  • 2015: The Gray Question,[28] Minus Space, New York
  • 2017: Gabriele Evertz – Color Relativity,[29] 499 Park Ave Lobby Gallery, New York
  • 2018: Flagge zeigen – Gabriele Evertz,[30][31] Radevormwald, Germany

Group Exhibitions (Selection)
  • 2010: Escape from New York, Massey University,[32] Wellington, New Zealand
  • 2010: Escape from New York,[33] Project Space Spare Room, RMIT University, Melbourne, Australia
  • 2011: Pointing a Telescope at the Sun,[34] Minus Space, New York
  • 2011: American Abstract Artists International,[35]Deutscher Künstlerbund, Berlin, Germany
  • 2012: Minus Space,[36] The Suburban Gallery, Chicago, Illinois (with Mark Dagley und Gilbert Hsiao)
  • 2012: Buzz,[37] Galeria Nara Roesler, Sao Paulo, Brazil
  • 2012: Seeing Red. A Group Exhibition,[38] David Richard Gallery, Santa Fe, New Mexico
  • 2013: Hauptsache Grau,[39][40]Mies van der Rohe Haus, Berlin, Germany
  • 2014: A Global Exchange: Geometric Abstraction Since 1950,[41] The Patricia & Phillip Frost Art Museum, Miami, Florida
  • 2014: Doppler Shift,[42][43] Visual Arts Center of New Jersey, Summit, New Jersey
  • 2014: Intervention. Flagge zeigen,[44] Banner Projekt, Radevormwald, Germany
  • 2014: Hard Edge Abstraction: Paintings and Works on Paper,[45] St. Lawrence University, Canton, New York
  • 2015: Territory of Abstraction,[46] Pentimenti Gallery, Philadelphia, Pennsylvania
  • 2015: Breaking Pattern,[47] Minus Space, New York
  • 2015: Geometric Obsession. American School 1965–2015,[48] Museum de Arte Contemporaneo Buenos Aires, Buenos Aires, Argentina
  • 2015: Op Infinitum: 'The Responsive Eye' Fifty Years After,[49] David Richard Gallery, Santa Fe, New Mexico
  • 2016: Painting Color,[50] Glassell Gallery at the Louisiana State University, Baton Rouge, Louisiana
  • 2016: Color,[51] Philip Slein Gallery, St. Louis, Missouri
  • 2017: Polychromy: Gabriele Evertz and Sanford Wurmfeld,[52] Minus Space, New York
  • 2017: Extended Progress,[53] Saturation Point Projects, London, England
  • 2018: Radiant Energy,[54][55] Visual Art Center of New Jersey, Summit, New Jersey

Curatorial work (Selection)
  • 2003: Seeing Red: Contemporary Nonobjective Painting,[56] (curated together with Michael Fehr) Hunter College/Times Square Gallery, New York
  • 2006: Presentational Painting III,[57] Hunter College/Times Square Gallery, New York
  • 2009: Color Exchange Berlin-New York,[58] Galerie Parterre, Berlin, Germany (the exhibition travelled later to the gallery Metaphor Contemporary Art),[59] New York
  • 2010: Visual Sensations, The Paintings of Robert Swain: 1967–2010,[60] Hunter College/Times Square Gallery, New York
  • 2017: Dual Current: Inseparable Elements in Painting and Architecture, University of Tennessee, Knoxville, (later the exhibition travelled to the Murray State University, Murray, Kentucky and to the University of Alabama, Tuscaloosa,[61] Alabama)

Further reading
  • Michael Fehr; Sanford Wurmfeld, ed. (2004-05-01), Seeing Red. Nicht-gegenständliche Malerei und Farbtheorie: Eine Dokumentation der Ausstellung und des Symposiums 2003 Hunter Art Galleries & Hunter Art Department, New York, Cologne: Salon, ISBN 978-3897701946
  • Gabriele Evertz; Hunter College Art Gallery (2006), Presentational painting III, New York: Hunter College
  • Gabriele Evertz (2010), Visual Sensations: The Paintings of Robert Swain, 1967–2010, New York: Hunter College, ISBN 978-1885998880
  • Wita Noack; Michael Fehr; Matthias Bleyl; Mies van der Rohe Haus, eds. (2014-01-22), Hauptsache Grau (in German), Berlin: form + zweck, ISBN 978-3935053754
gollark: I was going to use actual schematica.
gollark: Aargh my brain, this is so hard to reason about.
gollark: Wait, I have an idea, activate CCEmuX
gollark: How would that actually work, though. Hmm.
gollark: Galaxtone, GOOD IDEA.

References
  1. "Gabriele Evertz". Minus Space. Retrieved 2018-05-02.
  2. Nadja Lehmann (2018-01-07). "Ab Montag dominieren die Streifen. Sinn für die Farben: Gabriele Evertz hat die Motive der neuen Fahnen geschaffen, die am Montag aufgehängt werden". www.rga.de. Retrieved 2018-03-15.
  3. "The Basil H Alkazzi Award for Excellence. Previous Recipients of The Basil H. Alkazzi Award for Excellence in painting". New York Foundation of the Arts (www.nyfa.org). Retrieved 2018-03-13.
  4. John Yau (2017-08-12). "Slippery Geometry and Beguiling Color. An exhibition of works by Gabriele Evertz and Sanford Wurmfeld demonstrates that color theory and painting can arrive at very different conclusions". www.hyperallergic.com. Retrieved 2018-03-21.
  5. Matthew Deleget (2017-08-18). "Gabriele Evertz. Color Relativity" (pdf, 7,32 MB). 499parkavenue.com. Retrieved 2018-04-10.
  6. "Gabriele Evertz: The Gray Question". www.minusspace.com. 2015-08-15. Retrieved 2018-04-11.
  7. Nada Marjanovich (2012-06-28). "Artist VIPs 2012: Gabriele Evertz". lipulse.com. Retrieved 2018-04-11.
  8. Michael Feldmann (2010). "Gabriele Evertz Paints a Color Study". vimeo.com. Retrieved 2018-03-15.
  9. Michael Feldmann (2010). "Gabriele Evertz Documentary". vimeo.com. Retrieved 2018-03-15.
  10. "Geometric Obsession. American School 1965-2015". www.youtube.de. 2016-01-15. Retrieved 2018-03-21.
  11. "Artwork. Heraldic Tinctures. Gabriele Evertz". www.mfa.org. Retrieved 2018-03-15.
  12. "Heraldic Tinctures. Gabriele Evertz". www.brooklynmuseum.org. Retrieved 2018-03-15.
  13. "Gabriele Evertz". www.harvardartmuseums.org. Retrieved 2018-03-15.
  14. "Gabriele Evertz. Advance". www.hallmarkartcollection.com. Retrieved 2018-03-16.
  15. "Gabriele Evertz. Untitled". www.metmuseum.org. Retrieved 2018-03-16.
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  17. "Museum Collections. Fine Art". www.state.nj.us. Retrieved 2018-03-17.
  18. "Gabriele Evertz. Untitled". www.phillipscollection.org. Retrieved 2018-03-17.
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  20. "Gabriele Evertz. Heraldic Tinctures". www.whitney.org. Retrieved 2018-03-17.
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  22. "Die Sammlung des Osthaus Museums Hagen". www.osthausmuseum.de. Retrieved 2018-03-17.
  23. "Museo de Arte Contemporáneo de Buenos Aires – Artists". www.artsy.net. Retrieved 2018-03-17.
  24. "Sammlung Gegenwart". www.wilhelmhack.museum. Retrieved 2018-03-17.
  25. Robert C. Morgan (2011-12-10). "Gabriele Evertz: Rapture". brooklynrail.org. Retrieved 2018-03-19.
  26. "Gabriele Evertz: Optic Drive". davidrichardgallery.com. Retrieved 2018-03-19.
  27. "exhibits 12". www.artsitesgallery.com. Retrieved 2018-03-19.
  28. Paul Corio (2015-10-07). "Seen in New York, September 2015". www.painters-table.de. Retrieved 2018-03-19.
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  30. "Fahnenausstellung. Neue Fahnen am Kreisverkehr von Gabriele Evertz" [Flag exhibition. New flags at the roundabout by Gabriele Evertz]. Rheinische Post online. 2018-01-09. Retrieved 2018-03-11.
  31. Nadja Lehmann (2018-01-07). "Ab Montag dominieren die Streifen. Sinn für die Farben: Gabriele Evertz hat die Motive der neuen Fahnen geschaffen, die am Montag aufgehängt werden" [From Monday the bands dominates. Sense of color: Gabriele Evertz has created the motifs for the new flags to be hung on Monday]. www.rga.de. Retrieved 2018-03-15.
  32. "Escape from New York". noproject.wordpress.com. 2010-05-01. Retrieved 2018-03-18.
  33. "Escape from New York, Curated by Matthew Deleget". www.minusspace.com. 2009-05-08. Retrieved 2018-03-18.
  34. Stephen Maine (2011-09-12). "The Reductive Expands: Minus Space will move from 175 feet in Gowanus to a Dumbo loft. Pointing a Telescope at the Sun at Minus Space". Retrieved 2018-03-18.
  35. "13.05.2011 bis 18.06.2011 Ausstellung im Projektraum: American Abstract Artists International 75th Anniversary" [13.05.2011 to 18.06.2011 Exhibition in the Project Space: American Abstract Artists International 75th Anniversary]. www.kuenstlerbund.de. Retrieved 2018-03-18.
  36. "Minus Space: Mark Dagley, Gabriele Evertz and Gilbert Hsiao". minusspace.com. 2012-01-22. Retrieved 2018-03-18.
  37. "Catalogo_buzz curadoria by vik muniz" (pdf, 2,26 mb). nararoesler.art. 2012-11-28. Retrieved 2018-03-18.
  38. "Seeing Red. A Group Exhibition". www.davidrichardgallery.com. Retrieved 2018-03-21.
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  42. "Doppler Shift". www.artcenternj.org. Retrieved 2018-03-21.
  43. Joanne Mattera (2014-02-10). "A Walk through Doppler-Shift". Retrieved 2018-03-21.
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  45. "Exhibitions". Richard F. Brush Art Gallery. Retrieved 2018-03-21.
  46. Hannah Yudkin (2015-03-04). "Artists Find Common Ground in Language of Abstraction". hyperallergic.com. Retrieved 2018-03-21.
  47. Thomas Micchelli (2015-03-28). "Confounding the Eye: Breaking Pattern at Minus Space". hyperallergic.com. Retrieved 2018-03-21.
  48. "Obsesión Geométrica. American School 1965–2015". www.macba.com. Retrieved 2018-03-21.
  49. "Op Infinitum: 'The Responsive Eye' Fifty Years After (Part II) – American Op Art In the 60s". www.artsy.net. Retrieved 2018-03-21.
  50. "Painting Color, Curated by Susan Bonfils". (Glassell Gallery). Retrieved 2018-03-21.
  51. "Past Exhibitions". www.philipsleingallery.com. Retrieved 2018-03-21.
  52. John Yau (2017-08-12). "Slippery Geometry and Beguiling Color. An exhibition of works by Gabriele Evertz and Sanford Wurmfeld demonstrates that color theory and painting can arrive at very different conclusions". www.hyperallergic.com. Retrieved 2018-03-21.
  53. "Extended Process – Parts 1 and 2". www.saturationpoint.org.uk. Retrieved 2018-03-21.
  54. "Radiant Energy". www.artcenternj.org. Retrieved 2018-03-23.
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  56. "Seeing Red, Part II". Hunter College. Retrieved 2018-03-23.
  57. "Presentational Painting III". Hunter College. Retrieved 2018-03-23.
  58. "Eine Auswahl bisheriger Projektpartner" [A selection of previous project partners]. www.galerieparterre.de. Retrieved 2018-03-18.
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