acb

Wheatfield - A Confrontation: Battery Park Landfill, Downtown Manhattan - Blue Sky, World Trade Center
1982
C-print
40,64 x 50,8 cm
© Courtesy the artist, acb Gallery and Leslie Tonkonow Artworks + Projects, New York
Wheatfield - A Confrontation: Battery Park Landfill, Downtown Manhattan - Ocean Liner Passing Wheatfield on the Hudson
1982
C-print
40,64 x 50,8 cm
© Courtesy the artist, acb Gallery and Leslie Tonkonow Artworks + Projects, New York
Wheatfield - A Confrontation: Battery Park Landfill, Downtown Manhattan - With New York Financial Center
1982
C-print
40,64 x 50,8 cm
© Courtesy the artist, acb Gallery and Leslie Tonkonow Artworks + Projects, New York
Wheatfield - A Confrontation: Battery Park Landfill, Downtown Manhattan - With Statue of Liberty Across the Hudson
1982
C-print
40,64 x 50,8 cm
© Courtesy the artist, acb Gallery and Leslie Tonkonow Artworks + Projects, New York
The Artist’s Hand
1971
ink on paper
27,94 x 20,62 cm
© Courtesy the artist, acb Gallery and Leslie Tonkonow Artworks + Projects, New York
Breast
1971
ink on paper
27,94 x 20,62 cm
© Courtesy the artist, acb Gallery and Leslie Tonkonow Artworks + Projects, New York
Probability Pyramid
1978
litograph with metallic silver
71,12 x 101,6 cm
© Courtesy the artist, acb Gallery and Leslie Tonkonow Artworks + Projects, New York
The Pyramids As They Were
1994
Lithograph with metallic dusting on BFK paper
63,96 x 89,76
© Courtesy the artist, acb Gallery and Leslie Tonkonow Artworks + Projects, New York
Fish Pyramid – Noah’s Ark for the New City
1994
Lithograph with metallic dusting on BFK paper
63,96 x 89,76
© Courtesy the artist, acb Gallery and Leslie Tonkonow Artworks + Projects, New York
Pyramid Awakens
1994
Lithograph with metallic dusting on BFK paper
63,96 x 89,76
© Courtesy the artist, acb Gallery and Leslie Tonkonow Artworks + Projects, New York
Agnes Denes (1931, Budapest) is a Hungarian-born American artist based in New York. In her protean artistic practice unfolding since the 1960s, she has been embracing philosophy, mathematics, linguistics, psychology, history, sociology, poetry and music, closely intertwining science and art in a subtle mystery of knowledge. Considered as visionary, her visual investigations and formulations range from writings, drawings and sculpture to environmental actions, performances and installations. Focusing on milestones marking Denes’s extensive artistic career, the works exhibited embrace three decades of creation. Beside highlighting pieces being part of two larger series (The Body Prints and the Pyramids) the presentation features her best-known eco-conscious land art piece (Wheatfield – A Confrontation, 1982). Agnes Denes realized the series entitled Body Prints in 1971, as a witty ensemble of works in which clearly recognizable parts of the male and female body become tools for examining the big laws of the universe. The Pyramids as a fluid, floating form that by keeping its geometric perfection offers future possible habitats for living in space or other self-contained environments. In these drawings, Agnes Denes has developed an innovative use of metallic dust and ink applied by hand that give an ethereal glow to rigorously calculated patterns. Probably her best-known work, Wheatfield – A Confrontation (1982) stands as a visionary and transgressive act, a monument to identify misplaced priorities questioning controversial global issues and endless contradictions, in which she planted, grew and harvested a two-acre area of wheat on a landfill facing Wall Street and the World Trade Center.
Agnes Denes (1931, Budapest) is a Hungarian-born American artist based in New York. In her protean artistic practice unfolding since the 1960s, she has been embracing philosophy, mathematics, linguistics, psychology, history, sociology, poetry and music, closely intertwining science and art in a subtle mystery of knowledge. Her visual investigations and formulations range from writings, drawings and sculpture to environmental actions, performances and installations. In her drawings, which she kept as one of her principal means of expression despite the conceptual character of her art, she has developed an innovative use of metallic dust and ink that give an ethereal glow to rigorously calculated patterns. A pioneer of conceptual and environmental art, she has also coined the notion of Eco-Logic to express the paradox – or as she often refers to it, the human predicament – that lays between achievable conditions of global survival and logic demonstrating how, despite being in its centre, we are prisoners of our own system. In 1968, she authored Rice/Tree/Burial, the first land-art performance with expressed ecological concerns that called for environmental consciousness and responsibility. Her best-known work, Wheatfield – A Confrontation (1982) stands as a visionary and transgressive act, a monument to misplaced priorities questioning controversial global issues and endless contradictions, in which she planted, grew and harvested two acres of wheat on a landfill facing Wall Street and the World Trade Center.
Acb Gallery was founded in 2003 to represent contemporary and Hungarian neo-avant-garde art, both on the Hungarian and the international scene. Until 2009, the gallery’s program was focusing on the artistic practice of the generation that emerged in the 1990s in Hungary and mostly worked with non-traditional media. The gallery has been extending its portfolio since 2009 with neo-avant-garde, emerging and international artists and has been positioning itself on the international art-scene. In 2013, acb opened its second exhibition space named acb Attachment. In 2015 the gallery launched acb ResearchLab, a non-profit institute that focuses on the research and publication of Hungarian neo-avant-garde and post-avant-garde oeuvres. Throughout its research and wide exhibition activity, acb has played a key role in extending knowledge of the 1960s’ and 1970s’ Hungarian art, as well as in reviewing and completing the existing canon.
acb-logo_FB
+36 1 4137608
Rona Kopeczky
+36 30 6221502
Agnes Denes (1931, Budapest) is a Hungarian-born American artist based in New York. In her protean artistic practice unfolding since the 1960s, she has been embracing philosophy, mathematics, linguistics, psychology, history, sociology, poetry and music, closely intertwining science and art in a subtle mystery of knowledge. Considered as visionary, her visual investigations and formulations range from writings, drawings and sculpture to environmental actions, performances and installations. Focusing on milestones marking Denes’s extensive artistic career, the works exhibited embrace three decades of creation. Beside highlighting pieces being part of two larger series (The Body Prints and the Pyramids) the presentation features her best-known eco-conscious land art piece (Wheatfield – A Confrontation, 1982). Agnes Denes realized the series entitled Body Prints in 1971, as a witty ensemble of works in which clearly recognizable parts of the male and female body become tools for examining the big laws of the universe. The Pyramids as a fluid, floating form that by keeping its geometric perfection offers future possible habitats for living in space or other self-contained environments. In these drawings, Agnes Denes has developed an innovative use of metallic dust and ink applied by hand that give an ethereal glow to rigorously calculated patterns. Probably her best-known work, Wheatfield – A Confrontation (1982) stands as a visionary and transgressive act, a monument to identify misplaced priorities questioning controversial global issues and endless contradictions, in which she planted, grew and harvested a two-acre area of wheat on a landfill facing Wall Street and the World Trade Center.
Agnes Denes (1931, Budapest) is a Hungarian-born American artist based in New York. In her protean artistic practice unfolding since the 1960s, she has been embracing philosophy, mathematics, linguistics, psychology, history, sociology, poetry and music, closely intertwining science and art in a subtle mystery of knowledge. Her visual investigations and formulations range from writings, drawings and sculpture to environmental actions, performances and installations. In her drawings, which she kept as one of her principal means of expression despite the conceptual character of her art, she has developed an innovative use of metallic dust and ink that give an ethereal glow to rigorously calculated patterns. A pioneer of conceptual and environmental art, she has also coined the notion of Eco-Logic to express the paradox – or as she often refers to it, the human predicament – that lays between achievable conditions of global survival and logic demonstrating how, despite being in its centre, we are prisoners of our own system. In 1968, she authored Rice/Tree/Burial, the first land-art performance with expressed ecological concerns that called for environmental consciousness and responsibility. Her best-known work, Wheatfield – A Confrontation (1982) stands as a visionary and transgressive act, a monument to misplaced priorities questioning controversial global issues and endless contradictions, in which she planted, grew and harvested two acres of wheat on a landfill facing Wall Street and the World Trade Center.
Acb Gallery was founded in 2003 to represent contemporary and Hungarian neo-avant-garde art, both on the Hungarian and the international scene. Until 2009, the gallery’s program was focusing on the artistic practice of the generation that emerged in the 1990s in Hungary and mostly worked with non-traditional media. The gallery has been extending its portfolio since 2009 with neo-avant-garde, emerging and international artists and has been positioning itself on the international art-scene. In 2013, acb opened its second exhibition space named acb Attachment. In 2015 the gallery launched acb ResearchLab, a non-profit institute that focuses on the research and publication of Hungarian neo-avant-garde and post-avant-garde oeuvres. Throughout its research and wide exhibition activity, acb has played a key role in extending knowledge of the 1960s’ and 1970s’ Hungarian art, as well as in reviewing and completing the existing canon.