Peyton Wright Gallery is pleased to present The Shape Shifters II, an exploration of paintings by three artists who work with the shaped canvas, Charles Hinman, Angelo di Benedetto, and Mokha Laget. The exhibition will feature works dating from the mid-1960s through the present day. The exhibition will open on Friday, September 6, and will remain on view until September 30. There will be no opening reception.
The concept of the painting as a discrete view into an illusory three-dimensional space is nearly as old as painting itself. Since the advent of easel painting the employment of standard shapes—rectangles and squares—served to reinforce the perception of a window or portal into a reality beyond that of the object itself. Paintings that deviated from the traditional rectangular and square formats have been around since the Renaissance when arched and round pictures (tondos) became popular, but such variations in form were not intended to affect the conceptual basis of the work.
By the early 20th century modernist painters such as Piet Mondrian had begun to experiment with forms other than the standard 90-degree angle configurations. In the post-War years young artists such as the Italian Lucio Fontana, the English artist Richard Smith, and American painters such as Ellsworth Kelly, Leon Polk Smith, Kenneth Noland, Robert Mangold, Richard Tuttle and Frank Stella started to explore the possibilities of irregularly shaped supports for their abstractions. Their insistence on the painting as a singular two-dimensional object rejected any suggestion of pictorial illusion and the subliminal relation of traditional pictorial formats to landscape (the horizontal rectangle) and portraiture (the vertical rectangle). By 1964, the movement had gained sufficient currency for the Guggenheim Museum in New York to present the exhibition The Shaped Canvas, curated by Lawrence Alloway. The Shape Shifters II examines the approaches of three painters to the continuing dialogue between color, form, dimensionality and the relation of viewer and artwork.
Charles Hinman (b. 1932) is a New York native who studied in Syracuse and the Art Students League in New York City in the 1950s. While working as a shop instructor at Woodmere Academy on Long Island in the early 1960s he became skilled in carpentry which allowed him to create complex multi-element armatures for his canvasses. Hinman began extending his work into three dimensions, challenging the distinction between painting and sculpture. His first solo exhibition was presented at the Feigen Gallery in New York in 1964 and his work is included in the collections of the Museum of Modern Art, the Albright-Knox Gallery, the Whitney Museum of American Art and numerous other prestigious institutions in the United States and abroad.
Mokha Laget’s art has been informed by her peripatetic upbringing, spent in Algeria (her birthplace), France and the United States. She settled in the Southwest in the 1990s and her work began to reflect the singular qualities of brilliant light and color that characterize the region. Laget earned her BFA from the Corcoran School of Art and her post-graduate degree in linguistics from Georgetown University, both in Washington, D.C.. During her years in Washington she worked as a professional artist and as a studio assistant to Gene Davis. She describes her work as pushing “the boundaries of complex relationships between color and composition.”
Angelo di Benedetto studied at the Cooper Union Art and the Boston Museum Art School, after which he traveled the country as an itinerant painter. Influenced by Abstract Expressionism of the 40s and 50s, he began to eliminate the image from his work. By the end of the decade, he had decided that “the circle pure and simple was one of the most familiar symbols of mankind and that it metaphored into everything.” For more than three decades he explored the circle in paint, sculpture and shaped canvas. His fascination with the circle also relates to his belief that to effect the dialogue existing between object and maker; the artist must “create archetypal shapes [that have universal appeal], not symbols to reflect simply the intrinsic beauty of the shape itself.”
The Shape Shifters II brings together numerous important movements in abstract post-War art including Abstract Expressionism, hard-edge painting, Minimalism, color-field painting and op art. The shaped canvas movement remains influential into the 21st century and its practitioners continue to explore the expressive possibilities of color, dimension and form freed from the restrictions of the right-angle canvas.
About the Artists
Born in North Africa, a region of radiant light and dramatic geographical contrasts, Mokha went on to study Fine Arts at the Corcoran College of Art and Design in Washington DC. There she studied under several prominent members of the Washington Color School (WCS), an influential non-objective painting group whose principal members included Morris Louis, Kenneth Noland, Thomas Downing, Howard Mehring and Paul Reed. During her years in DC, she worked as a professional artist and studio assistant to WCS painter Gene Davis.
Mokha has enjoyed a diverse career characterized by travel, color, and curiosity. In addition to her painting practices, she has also worked as an independent curator, art restorer, arts writer and was Curatorial Assistant for the New Mexico Museum of Fine Arts. In theatre, she was a set designer, scriptwriter, actor and director. With a degree from Georgetown University’s School of Foreign Service, she has spent much of the past 25 years traveling parts of Africa, Latin America, and Asia as a simultaneous French interpreter. She lives and works in an off-grid studio in the mountains of New Mexico.
Hinman lived in New York City and held various part-time jobs while he continued to paint. Charles Hinman taught painting and engineering drawing at Staten Island Academy, New York from 1960 to 1962, and was the shop instructor at Woodmere Academy on Long Island from 1962 to 1964. In these two positions, he developed carpentry and engineering skills that gave him the ability to construct his own shaped canvases with complex three-dimensional curves.
In 1963, while seeking an independent path, he created his first shaped canvases in his studio on the Bowery, where Will Insley, who was also working on shaped canvases, and Robert Indiana had studios, as well.
Hinman first received critical attention in the exhibition 7 New Artisits at the Sidney Janis Gallery in May 1964 where he exhibited flat canvases cut at angles and suspended by cords. The other artists in the exhibition were: Larry Bell, Robert Irwin, Norman Ives, Robert Slutsky, Robert Whitman, and Arakawa.
Hinman went on to add the third dimension to his shaped canvases while examining the subtle boundary between the picture plane and the space in front of it, as well as playing with the idea of literal versus illusionistic depth.
Usually Hinman begins his work by building charcoal drawings of volumetric shapes. Out of the series of drawings, he will select one drawing and turn it into “shop drawings” to determine how the organic shape can be turned into a constructed form with intricate shape stretchers supporting it. While building the armature, he addresses the level of three-dimensionality of the work. Once the work has been stretched with canvas and given a ground, he then determines colors, often creating more sketches and repainting areas several times.
In the 1960’s, Hinman used bright colors in his work adding an almost Pop aesthetic to his canvases, such as Poltergeist, 1964, which is in the Museum of Modern Art, New York. He said he was then using color as if he were painting a hot rod. In 1975, Hinman began an all-white series of paintings. Returning to color in the late 1970’s, Hinman treated color as spatial indicators with each color representing a different canvas unit; each color having a separate stretcher underneath it. With a more muted palette of grays, silvers, and tans, the artist attained subtle interactions of color shapes interlocking with each other in space within a rhythmic order.
Hinman’s first solo exhibition was at the Feigen Gallery in New York in Nov.-Dec.1964, quickly followed by exhibitions with Feigen in 1965 at both his New York and Chicago galleries. Out of the 1964 show, the Museum of Modern Art, the Albright-Knox Art Gallery, and Nelson Rockefeller purchased works. In 1965, Hinman was one of four Americans invited to exhibit at the Museum of Contemporary Arts in Nagaoka, Japan where Hinman shared first prize with the Japanese artist Jiro Takamatsu. More solo and group exhibitions followed with Feigen through 1969 and then Hinman signed on with the Paris dealer Denise Rene, having solo exhibitions at Galerie Denise Rene in Paris in 1971 and then in her New York gallery in 1972, 1973 and 1975.
Hinman has visited Japan, Thailand, India, Iran, Greece, Italy, France and England. He served as artist-in-Residence, Aspen, Colorado in 1966. Hinman has taught at Cornell University and at Syracuse University. He has also held teaching positions at Pratt Institute, School of Visual Arts, the Cooper Union, Princeton University, University of Georgia campuses in Athens, Georgia and Cortona, Italy, and other distinguished institutions. Presently, he is teaching at the Art Students League of New York. In 1989, Hinman’s work traveled to Russia for an exhibition organized by Donald Kuspit titled Painting Beyond the Death of Painting at the Kuznetsky Most Exhibition Hall in Moscow. Hinman has credited Russian Supremacists as having a strong influence on his work.
Museum collections with Charles Hinman’s work include: the Whitney Museum of American Art, New York, NY; the Museum of Modern Art, New York, NY; the Los Angeles County Museum of Art, CA; the Hirshorn Museum and Sculpture Garden, Washington DC; the Phoenix Art Museum, AZ; the Denver Art Museum, CO; the Albright-Knox Art Gallery, Buffalo, NY; the Nagaoke Museum in Japan; the Louisiana Museum in Denmark; the Tel Aviv Museum in Israel; and the Pfalzgalerie Museum in Germany, among others.
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In December 1938 the Royal Netherlands Steamship Line sent him on a two-month ethnological study trip to Haiti, his first exposure to a different environment outside the United States. During what turned out to be an extended six-month stay, he studied and painted the life and religious customs of the island, resulting in a series of colorful, stylized paintings inspired by his immersion in the local culture. He also did scenes of Port-au-Prince and executed commissions received from prominent people in Haiti, including government officials. In 1940 his Haitian paintings were exhibited at the Montross Gallery in New York (his first solo show) and also reproduced in the January 1940 issue of Life Magazine. One of his Haitian paintings, Morning in Port-au-Prince, was owned by an American author, politician and U.S. ambassador, Clare Boothe Luce, while another image, Haiti Post Office, was acquired for the Encyclopedia Britannica Collection and later donated to Fisk University in Nashville, Tennessee.
Before World War II Di Benedetto traveled extensively around the United States in his car and trailer doing regional paintings. In 1941 he did what is considered the first authentic version of George Washington Crossing the Delaware, a contrast to the well-known painting on the same subject (1851) by German-born painter, Emanuel Gottlieb Leutze. During the war Di Benedetto volunteered for a secret mission to Africa in 1941 before the Allied invasion, serving as director of camouflage, foreman of native laborers and an interpreter while based in Eritrea. The following year he received a direct commission as a Second Lieutenant in the U.S. Army Air Corps in the First Photo Mapping Squadron, leading groups as a guide and interpreter and doing ground control. During his free time in Africa, he sketched and painted the local population and his fellow servicemen.
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