Fred Sandback, Zurich, 2000. Photo: Thomas Cugini, Zurich
Fred Sandback
David Zwirner is pleased to present a selection of works by American artist Fred Sandback that together highlight his wide-ranging formal vocabulary and treatment of space. The exhibition will be on view at the gallery’s 34 East 69th Street location in New York, where the domestically scaled interior will allow viewers an intimate engagement with a number of the artist’s signature formats.
Over the course of decades, Sandback developed a singular, minimal formal vocabulary that elaborated on the phenomenological experience of space and volume with unwavering consistency and ingenuity. He largely dispensed with mass and weight by using steel rod, elastic cord, and acrylic yarn to outline planes and volumes in space, creating an extensive body of works that inherently address their physical surroundings.
In his own words, Sandback described his sculpture as being “less of a thing-in-itself, more of a diffuse interface between myself, my environment, and others peopling that environment, built of thin lines that left enough room to move through and around. Still sculpture, though less dense, with an ambivalence between exterior and interior. A drawing that is habitable.”1
This will be the seventh solo presentation of Sandback’s work at David Zwirner. The gallery’s first exhibition was on view at Zwirner & Wirth in 2004, then located in the adjacent building at 32 East 69th Street.
Learn more about the Fred Sandback Archive
1 Fred Sandback, in Here and Now: Fred Sandback. Exh. bro. (Leeds, UK: Henry Moore Institute, 1999), n.p.
Image: Installation view, Fred Sandback, David Zwirner, New York, 2022
Using a formal minimal vocabulary, Fred Sandback is known for his committed exploration of sculptures that challenge space and volumes. Featuring sculptures, wood reliefs, drawings, and prints that span the artist’s career, this exhibition showcases the range of Sandback’s sculptural and spatial concerns.
Installation view, Fred Sandback, David Zwirner, New York, 2022
In her catalogue introduction for the exhibition Fred Sandback: Light, Space, Facts at the Glenstone Museum, curator Emily Wei Rales writes: “Sandback’s art is at once ethereal and monumental, literal and illusionistic, the result of the artist’s deep understanding and skillful manipulation of optical phenomena that occur only when the works are experienced in situ.”
And as Sandback said himself, “My work is ‘about’ any number of things, but ‘being in a place’ would be right up there on the list.”
One of Sandback’s earliest sculptural constructions, Untitled (Vertical Corner Piece) [LLR] (1968) is made with lengths of elastic cord and steel dipped in luminous blue paint. “The first pieces were high-key colors,” Sandback explained. “I thought the string had to be more visible, which wasn’t so.”
Sandback also created a prodigious body of prints, making use of the conventions of print media to explore the spatial concerns expressed in his sculptures. In the present group of linoleum cuts, produced in 1979, the artist depicts eight potential variations of a configuration similar to those found in Untitled (Vertical Corner Piece) [LLR] (1968).
Between 1968 and 1971, Sandback devised a series of sculptures executed in painted steel rod, each with four to six elements, with either equal or unequal spacing between the parts. Works from this series are in such public collections as the Glenstone Museum, Potomac, Maryland; Walker Art Center, Minneapolis; and Kunstmuseum Liechtenstein, Vaduz.
Installation view, Fred Sandback: Light, Space, Facts, Glenstone Museum, Potomac, MD, 2016. Photo by Cathy Carver
Installation view, Fred Sandback, Kunstmuseum Liechtenstein, Vaduz, 2005. Photo by: Thomas Cugini, Zürich
Fred Sandback, Untitled, 1968. Image courtesy the Walker Art Center
Though Sandback employed metal rod and elastic cord early in his career, around 1973 he adopted acrylic yarn as his primary material. Describing this shift, he explained, “I welded the metal pieces to partially define the boundaries of imagined solid volumes, but soon began to want to diminish that reference to a closed volume.”
For Sandback, yarn’s ability to stay taut under tension and the ways in which its texture creates a sense of blurriness when viewed in space provided the artist an opportunity to further his exploration of the “physical perception of surface and boundaries.”
Installation view, Fred Sandback, Dia:Beacon, Beacon, New York, ongoing
Installation view, Fred Sandback, Dia:Beacon, Beacon, New York, ongoing
Installation view, Fred Sandback, Dia:Beacon, Beacon, New York, ongoing
A selection of works on long-term view at Dia:Beacon provide a focused look at Sandback’s work with acrylic yarn.
Installation view of Fred Sandback, David Zwirner, New York, 2022
Fred Sandback. Photo by Thomas Cugini, Zurich
Fred Sandback installing in Pier and Ocean, Hayward Gallery, London, 1980. Photo by Christine Cadin, London
“When one enters a room occupied by a piece of Judd or Morris, one’s consciousness is immediately absorbed by the object. On the contrary, in a space traversed by a thread, the sensation of void precedes the perception of the work. Space precedes it.”
—Valérie Mavridorakis, Fred Sandback: Ou le fil d’Occam
Fred Sandback, Untitled (Sculptural Study, Ten-part Vertical Construction), c. 1983/2017 (detail)
Installation view, Fred Sandback, Le Flagey, Brussels, 2021
Installation view, Fred Sandback, David Zwirner, London, 2013
Fred Sandback, Untitled (Sculptural Study, Six-part Vertical Construction), c. 1983/2018 (detail)
“There is always a kind of shift or jolt in Sandback’s constructions, when one loses the ordinary coordinates of egocentric perception; and yet, with the jolt, one does not feel lost or disoriented so much as lifted up, refreshed, as if one had entered into a delightful new game.”
—John Rajchman, Fred Sandback
Similarly to his work in printmaking, Sandback’s drawing practice provided an opportunity for him to elaborate on his explorations of space, line, and volume. The artist utilized a variety of media, including acrylic paint, pastel, and colored pencil, to create marks akin to the soft edges of the acrylic yarn employed in his sculptures.
“A piece made with just a few lines at first seems very purist and geometrical. My work isn’t either of these things. In some ways, the drawings make that clearer than the three-dimensional pieces.”
—Fred Sandback
Installation view, Fred Sandback: Drawings, Kunstmuseum Winterthur, Switzerland, 2014
Installation view, Projects: Fred Sandback, Museum of Modern Art, New York, 1978
Fred Sandback, Untitled (Sculptural Study, Four-part Vertical Construction), c. 1987/2020 (detail)
Installation view, Fred Sandback, David Zwirner, New York, 2022
Although Sandback’s legacy is often discussed in terms of his sculptures, the artist also made a series of wall-mounted wood reliefs, beginning in the mid-1990s. For Sandback, these works were a way to move away from the limitations of site-determined interior space.
As he explained, “one of my frustrations is that I got myself into always using the dynamics of the buildings I worked in, and so became bound temporally to the specific site. The new pieces extricate me from that segmentation of experience.”
Fred Sandback during the installation of Fred Sandback: Recent Work, Lawrence Markey Gallery, 1998. Photo by Lawrence Markey
“The most important thing is to realize that illusion is equivalent to reality—that there are holes in what’s real. Let go of conceptually conditioned realities. It’s not easy to get, though it’s always there if you want to.”
—Fred Sandback
Fred Sandback at Magasin 3. Photo: Neil Goldstein
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