Rainer mangold biography of rory

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This often seems to leave his pieces on the cusp between one shape and other, such that the viewer must imagine a form extending beyond the physical boundaries of the piece that resolves the structural quandary.

In a sense Mangold's painting, with its strong associations of a smoky urban sunset, begs the question of whether Minimalist artists were ever able to create truly "non-referential" works.

Each panel is painted a different color, with a neon green section extending along the top cut short by a vertical yellow which, in turn, stops shy of the bottom of the frame. His 1960s-70s monochromatic paintings, with their slender graphic lines limning shapes offset against the exterior shape of the canvas, inspired artists including Frank Stella, Jo Baer, Robert Ryman, and Al Held, all of whom were unwilling to forsake the application of paint onto canvas in an era when painting was deemed to be over.

The orange sections, irregularly sized, consist of two different canvases affixed to the center of the strip. Mangold remains creatively active and, in a Movement sometimes teased for its high-falutin metaphysical and conceptual propositions, is notable for speaking about his practice with an eloquent clarity and directness.

Accomplishments

• Although Mangold is known as a Minimalist painter, a movement primarily associated with sculpture, his paintings really exist on the cusp between painted and sculptural form.

  
  
  Mangold has explained in recent interviews that with age he feels more connected to classical and Renaissance art and architecture. The aesthetics of the city, with its skyscrapers, bridges, and plazas, permeated Mangold's mind: particularly the way that modern architecture created sculpted in-between spaces.

  In XXII, the overall shape is of an irregular cross, making an inevitbable nod to Christian iconography and Malevich's Suprematist constructions. We never see anything in completeness." He was invigorated by the grittiness of the city, which, though it presented "an image-rich situation, a material-rich situation", was "not [rich] with natural color - you were not looking at sunsets, or feeling gentle shifts in the breezes - but the scale and color of industry and commerce surrounded you."

  Mangold took a position as a guard at the Museum of Modern Art, where he met fellow artists such as Sol LeWitt and Robert Ryman who had taken up similar jobs to immerse themselves in the world of modern art.

  
  
  In the early 1980s Mangold's muted, unprepossessing colors gave way to vibrant, saturated shades like those used in Green / 2 Orange. This contrast between drawn and sculpted shape generates a sense of formal play, complemented by marking out the sides of a polygon inside the right perimeter of the circle. Two slender, rectangular strips of Masonite join to form a square, a notch cut in the bottom right-hand corner to mar the symmetry of the form and reveal the plywood board behind, adding a visual and textural quirk.

  Again, the piece subtly suggests the presence of a different form to the one we are presented with, probing the dimensions of our formal unconscious. Further utilizing the language of architecture, Column Structure XXII is segmented into grids, though Mangold complicates the mathematical regularity of the piece with the curving lines that undulate throughout the canvases.

  Using effects of layering, segmentation, notching, and combination with other strips and squares of canvas, Mangold is able to emphasize the presence and form of the painted surface in a way which generates subtle architectonic and sculptural effects. The Masonite panels are spray-painted - Mangold chose to apply paint in this way to avoid the impression of the artist's touch - with a gradient running from creamy grey to soft pink in the bottom fifth of the painting.

  This adds to the subtle sense of flux, as if the work were unsure whether to resolve itself into one shape or the other.

  

  His work was featured in the Whitney Biennial four times in 1979, 1983, 1985, and 2004.