Jack Whitten

Transitional Space: A Drawing Survey

6 July - 31 July 2020

New York, 69th Street

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Hauser & Wirth is pleased to present the first major survey of Jack Whitten’s works on paper, spanning the artist’s six decade career. Jack Whitten (1939 – 2018) made it his mission to disrupt the discipline of art history through experiments with material, process, and technique. He effectively constructed a bridge between gestural abstraction and process art, constantly working toward a nuanced language of painting that employs deeply personal expression. Whitten was also a prolific and powerful draughtsman. The unique body of works on view at Hauser & Wirth testifies to the immensity of his commitment to drawing as a means to make manifest his ideas and advance his methods.

‘Jack Whitten. Transitional Space. A Drawing Survey.’ spotlights the artist’s playfulness and improvisational skill in searching for his own special visual language. Paper was more than an effective medium for Whitten; for him, working on paper was akin to scientific research. With an aesthetic hypothesis in mind, he worked tirelessly on paper to both subvert and elevate the history of art and how best to represent the many layers of information packed inside his imagination.

Drawing was an integral part of Whitten’s artistic and technical maturation. His analysis of the properties of different mediums engaged materials as diverse as watercolor, toner, cuttlefish ink, homemade walnut ink, and endless variety of Japanese and specialty papers. The trial-and-error of Whitten’s methodology can be felt through the multiple versions and renditions he created of particular works, many of which served as preliminary studies for subsequent paintings and monumental series.

Selected images

Space Flower #9

2006

Vertical Landscape #3

1967

Transitional Space 10

1969

Geometric Collusion #1

1981

Broken Grid VIII

1996

Study For Atopolis E

2014

Untitled

1973

Installation views

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About the Artist

Jack Whitten

Born in Bessemer, Alabama in 1939, Jack Whitten is celebrated for his innovative processes of applying paint to the surface of his canvases and transfiguring their material terrains. Although Whitten initially aligned with the New York circle of abstract expressionists active in the 1960s, his work gradually distanced from the movement's aesthetic philosophy and formal concerns, focusing more intensely on the experimental aspects of process and technique that came to define his practice.

The subtle visual tempos and formal techniques embedded in Whitten's work speak to the varied contexts of his early life. After a brief period studying medicine at the Tuskegee Institute in Alabama in the late 1950s, Whitten pivoted his attentions to art, first attending the Southern University in Baton Rouge before moving to New York and enrolling at The Cooper Union for the Advancement of Science and Art in 1960, where he earned his BFA degree.

In the 1970s, Whitten's experiments with the materiality of paint reached a climax—removing a thick slab of acrylic paint from its support, Whitten realized that the medium could be coaxed into the form of an independent object. Whitten used this mode of experimentation to challenge pre-existing notions of dimensionality in painting, repeatedly layering slices of acrylic ribbon in uneven fields of wet paint to mimic the application of mosaic tessarae to wet masonry. Over the course of a six decade career, Whitten's work bridged rhythms of gestural abstraction and process art, arriving at a nuanced language of painting, which hovers between mechanical automation and intensely personal expression.

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