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“It is the opacity of our language and the way in which it predetermines our sight that intrigues me.” – Mel Bochner

Quint Contemporary Art (QCA) is very pleased to announce a solo exhibition of new thesaurus-inspired monoprints by Mel Bochner. This is the second solo exhibition for Mel Bochner at QCA. The exhibition will open with a public reception on Saturday, March 3rd from 6 to 8 PM.

The exhibition will feature 17 new monoprints including Mel Bochner’s largest monoprint to date, Blah Blah Blah, which measures 96 x 144 inches. Other pieces in the exhibition include Money, Head Honcho, Silent, Amazing, Obscene, Sputter, and more. These new works examine the landscape of language and delve deeply into the meaning of one single word or phrase.

Quint Contemporary Art is pleased to be participating in ART LOS ANGELES CONTEMPORARY

Opening Preview Thursday, January 19
Barker Hanger – Santa Monica, CA

Work will be on display by PETER ALEXANDER | ADAM BELT | MEL BOCHNER | KELSEY BROOKES | JOHANNES GIRARDONI | THOMAS GLASSFORD | FRANCESCO LONGENECKER | JEAN LOWE | LEE MATERAZZI | RYAN MCGINNESS | EVE SUSSMAN | THÓR VIGFÚSSON |

Art Los Angeles Contemporary – now in its third year, is the International Contemporary Art fair of the West Coast.

Quint Contemporary Art is pleased to exhibit new work by Icelandic artist Thór Vigfússon. This will be the first solo exhibition of the artist’s work at Quint Contemporary Art and will include approximately 16 new glass paintings. Vigfússon was included in a 2008 group exhibition at QCA featuring prominent Icelandic artists. Thór Vigfússon: New Glass Paintings, will open with a reception on Saturday, November 19 from 6 to 8 PM. The reception is open to the public and the artist will be in attendance.

For many years, Thór Vigfússon (b. 1954) has been investigating the interaction between art and its surroundings through works made of glass, plexi, mirrors, and formica. He primarily works with colored glass and mirrors, which allow for engagement between the work and the viewer. The misleading simplicity of Vigfússon’s works are constantly mutating on an intimate plane with the viewer. The artwork creates a dialogue with architectural design through their simple geometric forms and pure colors.

Quint Contemporary Art is very pleased to announce an exhibition of new works by Peter Alexander, Mary Corse, and Robert Irwin. These three artists are all associated with the Light and Space movement in Southern California during the 1960’s and 1970’s. This will be the first exhibition at Quint Contemporary Art for Los Angeles based artists Peter Alexander and Mary Corse and the second exhibition for San Diego-based artist Robert Irwin. There will be a public reception on Friday, September 23 from 6 – 8PM. The artists will be in attendance.

“During the 1960s and 1970s, light became a primary medium for a loosely affiliated group of artists working in Greater Los Angeles who were more intrigued by questions of perception than by the notion of crafting discrete objects. Whether by directing the flow of natural light, embedding artificial light within objects or architecture, or by playing with light through the use of reflective, translucent, or transparent materials, these artists each created situations capable of stimulating heightened sensory awareness in the receptive viewer.”
– Robin Clark PhD, Curator Museum of Contemporary Art San Diego

Quint Contemporary Art is pleased to be participating in ART PLATFORM – LOS ANGELES.

October 1 – 3, 2011
Opening Preview Friday, September 30
L.A. Mart®

Work will be on display by ADAM BELT | MEL BOCHNER | THOMAS GLASSFORD | RYAN MCGINNESS | ROY MCMAKIN | TAVARES STRACHAN | and more!

The Art Platform – Los Angeles art fair will demonstrate the rich and diverse cultural landscape of Southern California and underscore Los Angeles’ influential position within the contemporary art world.

Mark Quint still remembers his first collaboration with Manny Farber in 1984, when Quint’s gallery was located downtown. Farber was infamous for working up to the last minute, and he finished the show’s final work about an hour before the opening.

“We hauled it upstairs, and it was still totally wet,” Quint recalled. “He had images of seafood, lobsters, mussels, and these were all things Patricia (Patterson, his wife and collaborator) had either cooked or they had bought. And before he ate them, he painted them.”

As was his practice, Farber worked on a flat, horizontal surface and would stage his paintings using tiny figures, scraps of paper, rebar, leaves, vegetables, fish and countless other everyday, mundane items. But sometimes, as he was painting, often right next to the item, a piece of something, perhaps a melon seed or a fish bone, would get caught in the paint and become part of the painting.