Davidow has created a series of paintings focusing on the relationship between the architecture of contemporary art museums and the artwork that is enshrined within these structures. The term architectonics refers to characteristics of architecture, design and construction; and relates to the scientific systematization of the totality of knowledge.
“Davidow surveys the formal qualities associated with how we interact with, and consume, contemporary art highlighting parts of our experience that we would ordinarily take for granted and overlook, “ says Claire Breukel, “Her work is minimal, yet precise and deeply obsessive.” The paintings seek to establish order through the mapping of multiple visual cues, while commenting on the struggle between the natural and built environments.
“My work has always involved an organizational grid. This grid has evolved to become ‘samples’ of other artists’ works,” says Davidow. “More recently I have been interested in the architecture of the museums themselves, and am now sampling elements of these buildings. The structure which holds the art becomes the scaffold of the painting itself.”
“I use ‘sampling’ in a way similar to musicians,” she continues. “I reduce an image of a building or another artist’s work to the essential elements that reference its physical structure or composition. This creates the rhythm, beat, or geometry of the building or artwork.” The architecture sampled in her paintings includes the Denver Art Museum by Liebskind, the Milwaukee Art Museum by Calatrava, the Nelson-Atkins Museum of Art - Bloch Building by Holl, the Fort Worth Museum of Art by Ando, and the De Young Museum by Herzog & de Meuron.
Diana Lowenstein Gallery
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