Structure for Slices

Channa Horwitz

Structure for Slices, 201055.88 x 107.95cmSign in to view price
Details
MaterialGallery
ink and pencil on mylarFrançois Ghebaly
Description
Human-crafted. AI-refined.

This minimalist artwork features a simple yet captivating composition. The predominant visual elements are clean lines and geometric shapes, creating a sense of rhythm and depth. The use of muted tones, primarily grays and whites, gives the piece a serene and understated quality. The subject matter appears to be a diagrammatic representation of intersecting planes or planes, evoking a sense of architectural or scientific exploration. The artist's distinctive technique involves precise, almost technical, draftsmanship, suggesting an interest in exploring the intersection of art, mathematics, and spatial dynamics. This work likely reflects the artist's exploration of the relationship between form, structure, and perception. ...

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Omens and Wishes
Channa Horwitz
Artist
Channa Horwitz
B.1932, American

Channa Horwitz (1932-2013) was a key figure in the development of Conceptual Art and West Coast Minimalism. Though like many other female contemporaries of hers, she only received credit from the art world much later in life when she was selected for the Whitney Biennial in 2014 and created the American pavilion at the Venice Biennale in 2013. Working predominantly across canvas and paper, her geometric studies are a joy to encounter, giving elasticity and vitality to repetitive linework with their bold use of colour and handwritten inscriptions. Horwitz began her career studying graphic design in the early 1950s at Art Centre College of Design and later beginning Fine Art studies at Cal State Northbridge in the early 1960s, fusing the graphic skills acquired at the former with the experimental spirit developed at the latter. Whilst completing a BFA from the California Institute of the Arts in 1972, Horwitz studied with peers such as John Baldessari and Allan Kaprow— taking part in Kaprow’s ‘Happenings’ and hosting her own events. With a career that spanned over five decades, Horwitz continued to stretch the emotive capacities of her graphic motifs, remaining committed to the conceptual, repetitive processes which brought about each new work. ...

Channa Horwitz: Artworks
Sonakinatography Composition #23
Moiré (with angle motif)
Moiré (with angle motif)
Matrix
Channa HorwitzMatrix, 1983
76.2 x 53.34cm
Sonakinatography XVIII
Language Series II 1-5-7
Language Series II 1-3-5
Canon Fragment
Channa HorwitzCanon Fragment, 1980
43.18 x 34.92cm
Structure
Channa HorwitzStructure, 1980
58.42 x 35.56cm
Flipping Squares
Channa HorwitzFlipping Squares, 2006
38.1 x 132.08 x 5.08cm
Eight Structures #3
Round in Three Parts
Rhythm of Lines 2-1
Rhythm of Lines 7-6
Structure for Slices
Moiré (With Angle Motif)
Moiré (With Angle Motif)
Rhythm of Lines 5-1
Language Series III
Rhythm of Lines 3-7
Rhythm of Lines 5-1
Rhythm of Lines 7-6
François Ghebaly
Gallery
François Ghebaly
Los Angeles, New York City

Since 2009, François Ghebaly has presented an innovative, eclectic program of Los Angeles-based and international artists. With a history of identifying and championing diverse voices and emerging talent, the gallery’s roster has grown to include 27 artists and 2 artist estates, ranging from early career, such as Sharif Farrag and Ludovic Nkoth, to mid-career, like Christine Sun Kim, Meriem Bennani, Kelly Akashi, Farah Al Qasimi, and Genesis Belanger, to well established, including Sayre Gomez, Kathleen Ryan, Neïl Beloufa and Candice Lin as well as underground legends, like Patrick Jackson and Mike Kuchar. The gallery advances the reach of its artists’ visions by publishing exhibition catalogues and producing artist editions. Located since 2013 in a 12,000 square foot warehouse space in Downtown Los Angeles, the gallery is a mainstay of the burgeoning Arts District community, and recently expanded to New York's Lower East Side. François Ghebaly’s program demonstrates a commitment to challenging work across all media and to fostering the progressive, boundary-pushing practices of its artists. ...

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