Statement:

This special presentation of works by Alan Shields, Marilyn Lerner, Fanny Sanín, Abdolreza Aminlari, and Polly Apfelbaum presents an intergenerational, global selection of artists working in vibrant geometric abstraction. The artists utilize a kaleidoscopic palette, often on atypical surfaces. Shields’ use of unstretched canvas is in dialogue with the shaped ceramic and wood panels of Apfelbaum, and Lerner respectively. Like Shields, Aminlari utilizes sewing to create hard edge abstract forms. Sanín’s paintings, which are acrylic on rectangular canvas, play with shape in their repeating symmetrical forms that call attention to the dimensions of each work. Rhythmic forms repeating in brilliant tones is a common motif for the artists. ///

When exhibited together, a dialectic relationship surrounding the methods of geometric abstraction begins to emerge. When observing the work of this group of artists together (some of whom were contemporaries working in entirely different parts of the world) an overarching historical narrative emerges surrounding form, line, and color in abstraction from the 1970’s to today. The similarities in style further illuminate the continued exploration of image making in the postwar period. 

Abdolreza Aminlari was born in Tehran, Iran and now lives and works in Brooklyn, New York. In 2001 he attended AICAD as part of the New York Studio Program, New York, NY and went on to receive his BFA in 2002 College for Creative Studies, Detroit, MI. He has widely, and has had residencies with West Elm, Dieu Donné, Dave Brown Projects in New York, and SÍM Residency in Reykjavik. Collections include TD Bank Corporate Art Collection, Toronto, CA; New York-Presbyterian, New York, NY; Progressive Art Collection, Mayfield, OH; Fidelity Corporate Art Collection, Fidelity Investments, Boston, MA; College for Creative Studies, Detroit, MI.