July 7, 2020
To get notified of our online digital exhibitions, sign up for our newsletter:
|Sign up now|
The essence of Ginzburg's recent body of paintings lies in the interaction of color. Our perception of color, optics and viewing techniques, as well as the movement of color in space have been at the center of many important dialogues by philosophers, artists, scientists and thinkers since the beginning of the Modern era.
Ginzburg explores these relationships, seeking to produce new viewing experiences through painting. In 2016, as Ginzburg embarked on the Gushul residency at the Southern Alberta Art Gallery (Canada), he became interested in the theories of a pioneering figure, Mikhail Matyushin (b.1861, Leningrad). A Russian painter and leading member of the avant-garde, Matyushin conducted various experiments on how we perceive color and space. He had pioneered a theory of "expanded viewing", where he argued that our ability to see and appraise our spatial surroundings could be heightened under the influence of space, light, color, and form.
Left: Mikhail Matyushin, Michael Ender. Chart of colored figure and ground progression in time with one eye closed. c.1930s. Paper, cardboard, gouache and collage. Collection of the State Museum of History, St. Petersburg. Image courtesy Anton Ginzburg. © State Museum of History, St. Petersburg. Right: Installation view, Anton Ginzburg: Construction Proxy. Barbara Davis Gallery, Houston. January 5-February 17, 2018. Image courtesy Barbara Davis Gallery, Houston. Photo: Peter Molick.
Taking his cue from Matyushin's color and spatial studies, Ginzburg developed the ROMB 4A body of works. Using the geometry of the diamond shaped wood panels, Ginzburg developed dynamic abstract compositions. Planes of color overlap, revealing new figure-ground relationships within each work. Ginzburg developed the works with pigments and paints prepared in his studio, whilst studying the physical and spatial properties of colors and their combinations.
ROMB 4A is concerned with perceptions of space and color, and their effects on visual consciousness.
The act of viewing, and how we see color, becomes the subject of Ginzburg’s second series, VIEW. Ginzburg developed the abstract compositions of this series by basing them on diagrams that represent the binocular field of human vision. Drawing on the geometry established in these diagrams, planes of color overlap and intersect in each of these paintings. Building on Ginzburg's color studies and spatial exercises, VIEW demonstrates the very act of viewing itself through the material practice of painting, making the viewer aware of his or her own point of perception.
“My research focused on the exploration of color, its interaction with the spatial environment, and the incorporation of these principles into the objects of observation.”
— Anton Ginzburg, in conversation with Meghan Forbes.
Read the full conversation on MOUSSE Magazine
In larger-scale works, Ginzburg drew on the effects of the movement of color in space, creating works where color fields reference its prismatic effects.
"This is not an objective landscape, however. It is more like a metaphysical landscape, or a landscape of the mind... It is tempting to look for symbolism in the shapes, patterns and forms. But there is also something democratic happening in the liminal spaces where the colors and lines meet: we are looking at borders, and admiring how our perception of things changes when lines are crossed." — Phillip Barcio, Anton Ginzburg’s Interpretations of Eastern Europe's Modernist-Formal Vocabulary
Read the full review on IdeelArt
In 2019, Ginzburg began integrating the forms that he had developed into new series of works, entitled 3i_SUN_STARE and HAY STACKS. These forms begin to serve as recurring motifs within his compositions, creating an established visual vocabulary throughout the respective series. The paintings visually allude not just spatial dynamics, but also to the structure of non-linear narratives.
"The abstract paintings are called HAY STACKS. Language gives them meaning, even if to mislead... The artist is practiced in the vocabularies of 20th century modernism and his works allude to their turns of phrases, without quoting directly. He breaks apart the traditional sentence structures of modernism, incorporating them into new patterns and rhythms, to participate fluently in contemporary art dialogues."
— Katya Tylevich, in Points of Entry, essay for the catalog of the two-person exhibition Anton Ginzburg and Dasha Shishkin: Partial Eclipse at Fridman Gallery, NY (October 20 - November 20, 2019)
In the series 3i-SUN_STARE, Ginzburg incorporates the geometric shape of the earlier VIEW series in the works. Yet, instead of taking the viewer's individual angle of vision as the subject of the painting, 3i-SUN_STARE presents the viewer with a broader "meta-perspective", where the structure and form of the work is derived by turning VIEW into figures within the ground of the painting. In speaking about the series, Ginzburg references the camera technique of "zooming out", where the lens reveals a wider narrative within a singular frame. In the same way, 3i-SUN_STARE uses the form of VIEW almost as a kind of cinematic syntax to construct a different "scene" altogether.
Bringing to mind another present-day method of examination, Landscape Turn_1A (2019) references the format of the iPhone's landscape mode. Fighting against easy viewing, Ginzburg developed this singular work by applying the visual vocabulary that he developed to our common experience of viewing graphics on a digital screen, confusing the abstract with the literal.
Over the course of these bodies of paintings, Ginzburg uses color-spatial relationships to analyze different modes of viewing, and the possible relationships that can be established between the viewer and the viewed — in this case, the material object of the painting. Collectively, the four series are a playful, vibrant, and dynamic exploration into the foundational forces that shape our visually-charged world today, and the techniques that we use to see and interpret what we see.
“The problem of form is definitely crucial…However, unlike Modernists, I am not searching for some pure, ideal form. Form in my works is always dynamic. It develops through interaction with the surrounding context, with history, with material properties of things, and with whatever else might shape it. I see my work as analytical system for observing the process of the development of form as it undergoes semantic, material, and historical transformations. ” — Anton Ginzburg
This policy applies to all Personal Data processed online by Helwaser Gallery through its website, social media platforms, email, and newsletter subscription service.
For the purposes of this Policy:
“Personal Data” means any information relating to an identified or identifiable natural person, where an identifiable natural person is one who can be identified, directly or indirectly, in particular by reference to an identifier such as a name, an identification number, location data, an online identifier or to one or more factors specific to the physical, physiological, genetic, mental, economic, cultural or social identity of that natural person; and
“process”, “processed” and “processing” means any operation, or set of operations, which is performed on Personal Data or on sets of Personal Data, whether or not by automated means, such as collection, recording, organisation, structuring, storage, adaptation or alteration, retrieval, consultation, use, disclosure by transmission, dissemination or otherwise making available, alignment or combination, restriction, erasure or destruction.
What information do we collect?
You may give us information about you by filling in forms when using our services, signing up to our newsletter or contacting us with enquiries. Such information can include:
1. Your name, address, telephone number and e-mail address; and
2. Data including artwork information, artworks owned, requested, offered, reserved, purchased, consigned and details of artwork invoices.
Information about your usage of, and interaction with our website. we may automatically collect data about your browsing activities including traffic data, location data, the originating domain name of your Internet service provider, and statistics on page views.
In addition, we may disclose your information to the extent that we are required to do so by law (which may include to government bodies and law enforcement agencies) in connection with any legal proceedings or prospective legal proceedings, and in order to establish, exercise or defend our legal rights (including providing information to others for the purposes of fraud prevention).
How do we use the information collected?
Your Personal Data is generally processed by us as necessary for purposes directly related to our functions and activities. This includes any one or more of the following purposes:
We also use various forms of marketing to provide you with promotional materials for the purposes of marketing in accordance with our legitimate interests to send you information about gallery exhibitions and events. We use third party email providers, such as MailChimp, to process these marketing emails. If you would like to be removed from this mailing list, please contact us at email@example.com or click on unsubscribe at the bottom of each marketing email.
We may share your Personal Data with our selected third party providers and suppliers for the performance of delivering our Service under the contract between you and Helwaser Gallery, including processing payments and delivering artwork to you in accordance with your instructions. Our third party suppliers will have their own processing terms. Where we reasonably believe that you are or may be in breach of any of the applicable laws, we may use your personal information to inform relevant third parties such as your email/internet provider or law enforcement agencies about the content.
Helwaser Gallery does not process the Personal Data of persons 16 years of age or younger, except where express consent has been communicated to us by a person capable of giving such consent on his/her behalf. Where the processing of your Personal Data does not fall under one of the bases set out within this policy, we will obtain express written consent from you for such processing by methods or means which include making you sign a form or check a box. You can withdraw such express consent at any time by contacting us at firstname.lastname@example.org
You have the right to request a copy of the personal information we hold about you and to have any inaccuracies corrected.
We will use reasonable efforts to the extent required by law to supply, correct or delete personal information held about you on our files (and with any third parties to whom it has been disclosed to).
Access to Personal Data
You may request access to, and correction of, your Personal Data held by us by contacting us at the contact details at any time. All requests for access and/or correction will be processed within a reasonable time except where we refuse such requests in accordance with any applicable laws or regulations. In some situations, you may be able to access and correct your personal information directly through our Platforms.
Safeguarding Personal Data
We will use reasonable technical and procedural measures to safeguard your Personal Data, for example, by: ensuring that access to any personal account you have with us is controlled by a password and username which are unique to you; storing your Personal Data on secured servers; and restricting access to Personal Data on a ‘need to know’ basis.
Whilst we will use all reasonable efforts to safeguard your Personal Data, please note that the use of the Internet and/or our Platforms cannot be made entirely secure and we therefore are unable to guarantee the security or integrity of any Personal Data which is transferred from you or to you via the Platforms.
Object to us processing data about you
You can ask us to restrict, stop processing, or to delete your Personal Data by contacting us at email@example.com if:
If you inform us that you would no longer like us to store or process your Personal Data, we may be required to collect information from you each time you interact with staff members or through our website.
Making a complaint
If you are unhappy with the way Helwaser Gallery is processing your Personal Data, please let us know.
By mail: Helwaser Gallery, 833 Madison Ave, Third Floor, New York, NY 10021
Changes to our policy
We will notify you of any changes to this policy by email, or announcing it on our website.
Further rights of data subjects in the European Union (“EU”)
If you are a data subject in the EU, you may contact us to exercise the following further rights:
All requests made to us in exercising the rights above will be processed within a reasonable time except where we refuse such requests in accordance with any applicable laws or regulations.
Updated August 2019