Installation Views

Akg 2007 markgrotjahn bluepaintings 2 1400 0x193x3000x1999 q85Akg 2007 markgrotjahn bluepaintings 3 1400 0x200x3000x1998 q85Akg 2007 markgrotjahn bluepaintings 4 1400 0x179x3000x2002 q85Akg 2007 markgrotjahn bluepaintings 5 1400 0x193x3000x1997 q85Akg 2007 markgrotjahn bluepaintings 6 1400 0x193x3000x2002 q85Akg 2007 markgrotjahn bluepaintings 7 1400 0x992x2394x1597 q85


Ak4745 gro untitled bluepaintinglighttodarkviii 1400 72x567x2373x1580 q85Ak4747 gro untitled bluepaintinglighttodark x 1400 92x816x1867x1246 q85Ak4746 gro untitled bluepaintinglighttodark ix 1400 93x795x1760x1172 q85Ak4743 gro untitled bluepaintinglighttodark vi 1400 72x831x1522x1016 q85Ak4741 gro untitled bluepaintinglighttodark iii 1400 71x727x2361x1573 q85Ak4739 gro bluepaintinglighttodark i 1400 86x885x1817x1212 q85

Press Release

Blue Paintings Light to Dark One through Ten
January 19 –
February 28, 2007

The title of the exhibition is the most concise description of the works on view: Blue Paintings Light to Dark One through Ten. After Mark Grotjahn’s recent solo show of drawings at the Whitney Museum, this is the first presentation of paintings in New York in four years and his second solo show at Anton Kern Gallery.


For this body of blue monochrome “butterfly” paintings, Mark Grotjahn primed each one with a layer of radiant orange-red paint. In some cases he added a brush drawing of a mask-like face and thereby, in conjunction with the warm under-color, hinting—almost imperceptibly—at the painter’s larger project: employing a rigorously systematic approach (geometry and monochromatic color) to generate images of remarkable emotional force. Grotjahn then methodically applies rays of blue paint, starting from a central point, one shade of blue per ray, always leaving a vertical strip of blue in the center and along the margins. Light is captured in the texture of the brush strokes following the segments’ radial direction.


In what he calls “butterfly” paintings, Grotjahn builds a sensory world, gripped by curiosity and wonder, the visible and the invisible, in which we encounter the specters of modernism, and indeed, in which we find our perception transformed from pure optical sensation into motive power and emotional energy.

Read MoreRead Less