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David Novros: Paintings
Exhibition
David Novros: Paintings
30 Sep 2022 – 18 Dec 2022
Regular hours
- Friday
- 13:00 – 14:3015:00 – 16:3017:00 – 18:00
- Saturday
- 11:00 – 12:3013:00 – 17:30
- Tuesday
- 13:00 – 14:3015:00 – 16:3017:00 – 18:30
- Thursday
- 13:00 – 14:3015:00 – 16:3017:00 – 18:30
Cost of entry
$27.50 (concessions available)
Address
- 101 Spring Street
- New York
New York - 10012
- United States
Judd Foundation is pleased to present David Novros – Paintings on the ground floor of 101 Spring Street.
About
The two works in the exhibition, Boathouse (2016) and Untitled (Graham Studio Mural II) (2006), are large, polychromatic paintings, described by the artist as portable murals. These works relate to imagery that Novros first explored in a fresco he made for the second floor of 101 Spring Street in 1970 and are examples of his ongoing commitment to what he calls “painting-in-place.”
Untitled (Graham Studio Mural II) was one of five works Novros made for the sculptor Robert Graham’s home and studio in Venice, California, and is one of two that are extant. Boathouse, a multipartite painting in oil and murano, was made after a related mural cycle conceived for a boathouse in Middleburgh, New York was destroyed. These works demonstrate Novros’s ongoing interest in structural wholeness, the interplay of color, and place.
This exhibition presents new opportunities for considering Novros’s portable murals within the context of his permanent fresco at 101 Spring Street, and for seeing anew the importance of place and permanence to his work more broadly. Jörg Daur, Deputy Director of the Museum Wiesbaden, describes Novros’s paintings as “distinguished by an interplay with each place that fundamentally allows this place as such to emerge.”1
In 1970, two years after Donald Judd purchased 101 Spring Street, he asked Novros to create a work for the second floor. Judd and Novros shared an interest in permanence, and for the relation between a work of art and the architecture in which it is exhibited or for which it was made. As Novros recalls, “Judd was using that space as his laboratory to center on the belief that the placement of a work of art was critical to its understanding. He was thinking of the various paintings and sculptures of the building as a ‘permanent installation.’ It worked out well for both of us, because it suits my concept of how a work of art could exist in an architectural space.”2 This work, restored by Judd Foundation in collaboration with the artist in 2013, was Novros’s first true fresco.
