Gabriele Evertz

Gabriele Evertz

Artist Statement:

My work celebrates sight and the awareness of inner states that only color painting can reveal.

I concentrate on sensations– colors and their dynamic nature– and perceptions. Perceptions refer to the interaction of colors, the memories and emotions they evoke. My palette references the order of the color circle. Precisely painted, the shapes are simple, unadorned geometric color carriers that free the viewer to concentrate on new experiences of color effects. 

A painter differentiates between pictorial color – color derived from pigment, and perceptual color – color seen as light. Appearing in the space between the viewer and the painting, it is not photographable.  

My work explores color behavior and creates color situations that bring new awareness of color effects This visual language uncovers what only painting can bring about and is most likely not encountered in the everyday: luminous colors, brighter and more brilliant than the painted shapes that generated them can be observed to appear, disappear, and reappear. 

My intention is to uplift the viewer. Their experience of pure spectral colors as an expressive power and life-giving force can instill recognition and with it, a confidence that leads to change.

Artist Biography:

Gabriele Evertz (b. 1945 Berlin, Germany) lives and works in Brooklyn, New York. Evertz has exhibited her work in solo and group exhibitions internationally and nationally. Her museum exhibitions include the Columbus Museum, Heckscher Museum, Hillwood Art Museum, Louisiana Art & Science Museum, MoMA PS1, Museo de Art Contemporáneo Buenos Aires, Osthaus Museum Hagen, Patricia & Phillip Frost Art Museum, and Ulrich Museum.

In addition to her painting practice, Evertz is a Professor Emerita at Hunter College, City University of New York, where she was a Professor of Art and Painting in the Department of Art & Art History from 1990-2018.

Over the past fifteen years, Evertz has curated several critically-acclaimed artist retrospectives and exhibitions, including Dual Current: Inseparable Elements in Painting and Architecture; Visual Sensations: Robert Swain Paintings, 1967-2010; Presentational Painting III; Seeing Red: An International Exhibition of Nonobjective Painting (co-curated with Michael Fehr); Set in Steel: The Sculpture of Antoni Milkowski; and Mac Wells: Light into Being (co-curated with Robert Swain).

AAA:

Member Since: 1996