Sep 4, 2014
Charles Gaines, Falling Leaves I, 1978
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Charles Gaines, Falling Leaves I, 1978
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Even the people whom I really liked—Cage or LeWitt—were visionaries, but they were suspicious of letting language get out of control. It was important to protect visual or sound culture from that. I was just the opposite. For me, an artwork is the impetus for letting language get out of control—letting the dynamic experiences happen.
Charles Gaines to Courtney J. Martin, "Five Will Get You Ten: A Conversation with Charles Gaines"
Rasheed Araeen, Zero to Infinity, 1968–2007
...Grids are not only spatial to start with, they are visual structures that explicitly reject a narrative or sequential reading of any kind.
Rosalind Krauss, "Grids," October 1979
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One thing that made me different from other conceptual artists is that I was not shying away from language or meaning or content. Those things are part of the art, whereas for the most part, conceptual art was phenomenologically based. It didn't deal with metaphor.
-Charles Gaines to Malik Gaines, "Remember the Grid," 2001
All Things Grids: In addition to the work of Charles Gaines, this blog will highlight the work of artists who incorporate the grid. United by the theme of a “grid aesthetic,” the works featured represent a cross section of movements, generations and materials, and demonstrate the varied use of the grid in modern and contemporary art.
Ellen Gallagher, They Could Still Serve, 2001
"Gallagher has simultaneously adopted the grid and reversed its rigorous use by a former generation of Minimalist and Conceptualist artists: her patches of blue lined paper form a grid pattern, but it is liquefied, disassembled, blurred, and dematerialized with watercolor. Among the papers’ blue lines are small marks, a repeated stereotyped sign of race drawn from minstrelsy: wide eyes peering out at the viewer. These signs are paradoxically at once free floating and mapped in her grid structures. They Could Still Serve takes its title from an etching in Francisco de Goya’s series The Disasters of War (1810–20), a caustic meditation on the brutality and futility of human warfare."
source: http://www.moma.org/collection/object.php?object_id=80578