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American
(1928–2023)
Untitled
1969-1970
Acrylic on plastic
46.25 in. (117.475 cm)
Gift of the Marie Eccles Caine Foundation
1997.10
Beginning in the late 1950s, Robert Irwin, a conventionally facile young figurative artist, quickly moved through a vivid abstract expressionist phase in thrall to the group of artists associated with L.A.’s Ferus Gallery. But early on, Irwin started being bothered by the arbitrariness of his painterly marks and their almost inevitable tendency to suggest images, when he wasn’t trying to make representations of anything—just the opposite, he was pursuing an unmediated experience of presence itself. Initially he began radically compressing his vocabulary, limiting himself to a cluster of marks gathered at the painting’s center, and then to just three or four roughly parallel horizontal lines, and finally to just two parallel lines the same hue as their monochrome backdrop. But people still insisted on characterizing the resultant canvases as “those paintings of two lines.”
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