Joseph Marioni – Triptych: Gemälde von 1988 in Gegenüberstellung zur Muttergottes mit Kind vom Marienaltar aus St. Kolumba
Joseph Marioni – Triptych: »Studies«, No.1-12 (Ohio 1977-1987) und No.13-17 (New York, 1988-1995), Leihgabe des Künstlers
1999 Joseph Marioni
11 June to 19 September 1999
Joseph Marioni – Triptych
Reencounter with the Unknown – Part 13
Can a picture be a body? As painted colour and its appearance of light, can this body be concrete and immaterial at the same time? Can a picture, which does not represent or depict anything and which doesn’t want to be a model, a symbol or a metaphor, achieve a human proximity which sets it apart from a design product? These questions concerning the nature of painting have been occupying the American painter Joseph Marioni (born in 1943 in Ohio) for thirty years. As a successor to the Abstract Expressionists and during a time of Minimal and Concept Art, Marioni began at the end of the 1960s to apply liquid acrylic paint with a paint roller, letting it flow largely uncontrolled over the canvas. In the 1970s and 1980s, he was one of the spokesmen of “Radical Painting” and stood at the centre of this group in its geographical centres of New York and Cologne. In the spring of 1995 his yellow painting from 1982 was exhibited in the Diözesanmuseum – the first of his paintings ever shown in Germany. Now, one of his major works stands in the centre of the presentation, the “Triptych” from 1995, its preliminary studies reaching back as far as 1977, being exhibited for the first time. Together with this important picture we are showing four exemplary works dating from 1974 to 1995 in juxtaposition with several significant Late Gothic and Baroque sculptures from our collection. A fifth picture is to be painted especially for the exhibition (a catalogue will be published).
(Book publication)
Joseph Marioni – Triptych
Reencounter with the Unknown – Part 13
Can a picture be a body? As painted colour and its appearance of light, can this body be concrete and immaterial at the same time? Can a picture, which does not represent or depict anything and which doesn’t want to be a model, a symbol or a metaphor, achieve a human proximity which sets it apart from a design product? These questions concerning the nature of painting have been occupying the American painter Joseph Marioni (born in 1943 in Ohio) for thirty years. As a successor to the Abstract Expressionists and during a time of Minimal and Concept Art, Marioni began at the end of the 1960s to apply liquid acrylic paint with a paint roller, letting it flow largely uncontrolled over the canvas. In the 1970s and 1980s, he was one of the spokesmen of “Radical Painting” and stood at the centre of this group in its geographical centres of New York and Cologne. In the spring of 1995 his yellow painting from 1982 was exhibited in the Diözesanmuseum – the first of his paintings ever shown in Germany. Now, one of his major works stands in the centre of the presentation, the “Triptych” from 1995, its preliminary studies reaching back as far as 1977, being exhibited for the first time. Together with this important picture we are showing four exemplary works dating from 1974 to 1995 in juxtaposition with several significant Late Gothic and Baroque sculptures from our collection. A fifth picture is to be painted especially for the exhibition (a catalogue will be published).
(Book publication)