Dorothea Rockburne, Scalar,1971. Chipboard, crude oil, paper and nails, 80 x 114-1/2 inches. The Museum of Modern Art, New York © 2014 Dorothea Rockburne / Artists Rights Society (ARS), New York
Tuesday, January 28th, 2014

Thought Embodied: Dorothea Rockburne’s Drawing Which Makes Itself

now in its final week at MoMA

Gabriel Kuri, Two nudes two points, 2013, marble slabs, crushed aluminum drink cans, 39 1/8 x 4 71/3 x 33 1/4 inches. Courtesy of Miguel Abreu Gallery.
Tuesday, August 13th, 2013

The Sovereignty of Strangeness: Conspicuous Unusable at Miguel Abreu

Philosophy, scrap metal, and classic Minimalism on the Lower East Side

Anni Albers, Untitled Tapestry, based on a 1933 design. Hand knotted wool, hand twisted wool and silk, 72 x 116 inches. Courtesy of Loretta Howard Gallery
Thursday, September 29th, 2011

An Education Over Coffee: Black Mountain College and Its Legacy

A rich historic show at Loretta Howard Gallery, up through October 29

Dorothea Rockburne, Universe Series, 1994-99. Raw pigment, acrylic medium and charcoal on watercolor paper, mounted on ragboard, six panels, each 22 x 30 inches. Images courtesy of New York Studio School.
Tuesday, April 20th, 2010

Dorothea Rockburne: Astronomy Drawings at the New York Studio School

These staggering images made it clear that the universe is an interconnected assembly of electrical circuits and that energy and matter are, indeed, infinite in their connectivity.

Dorothea Rockburne, Angular Momentum, 2008. Watercolor on Duralar, 48 x 36 inches, Courtesy of the artist and Greenberg Van Doren Gallery, New York.
Tuesday, April 14th, 2009

Dorothea Rockburne at the National Academy

Dorothea Rockburne at the National Academy

Monday, September 22nd, 2008

Geo/Metric: Prints and Drawings from the Collection at The Museum of Modern Art, New York

After being run through the pressure chamber of Conceptual Art, geometric forms for many artists working today are not indicative of a strict allegiance to any kind of school of non-objective thought or practice. From the storied history laid out in the rooms of “Geo/Metric” it seems that geometry in art has indeed reached its highest accomplishment: the freedom of eternal fresh starts.

Sunday, October 1st, 2006

High Times, Hard Times: New York Painting, 1967-1975

an exhibition curated by Katy Siegel with David Reed