b. New York 1937
Derived from the idea of geometry and asymmetry in shape and form, Robert Mangold’s paintings challenge the limits of the two-dimensional medium, beginning with his early works, which featured irregular canvases of varying sizes spray-painted in unobtrusive browns and tans. Mangold has been associated with Minimalism, however he also recalls sources from Ancient Greek pottery to Renaissance frescoes. For example, in his “Column Structure” paintings (2005-06), the artist demonstrated the evolution of his signature asymmetrical canvases into a vertical plane, evoking classical architectural elements; the delicate and muted stain contrasting the precision of his geometric shapes.
The Art Institute of Chicago, the Bonnefantenmuseum (Maastricht, Netherlands), Fundacío La Caixa (Barcelona), the Hallen für Neue Kunst (Schaffhausen, Switzerland), the Hirshhorn Museum and Sculpture Garden (Washington, DC), the Honolulu Museum of Art, the J. Paul Getty Trust (Los Angeles), the Kunstmuseum Basel (Switzerland), the Los Angeles County Museum of Art, the Museo Nacional Centro de Arte Reina Sofía (Madrid), the Museum of Modern Art (New York City, the San Francisco Museum of Modern Art, the Solomon R. Guggenheim Museum (New York City), the Tate Collection (London), the Tokyo Metropolitan Art Museum, and the Whitney Museum of American Art (New York City) are among the public collections holding work by Robert Mangold.