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Marcia Hafif:

Change and Continuity

1962 – 1974

Marcia Haffif: Change and Continuity 1962 – 1974

The exhibition begins in 1962 when we first encounter Hafif experimenting with repetitive vertical mark making. Throughout her career, she returns to this technique, testing the limits with various media to achieve new ends.  

Between 1961 and 1969 Hafif created what has come to be known as her Italian paintings. This period in Rome produced “Pop Minimal” paintings, as the artist later called them in retrospect. The paint application in her acrylic and spray works is flat, yet has a great deal of motion where edges meet and oscillate between figure and ground. Spray paint, then a relatively new technology used predominately in car manufacturing, lends itself to the creation of negative space becoming an act of production. Upon closer inspection, however, the artist’s hand is quietly evinced by faint scuffs and drips which accumulate on the painting’s surface. This subtle tension between chance and intervention, between presence and absence, will become central to Hafif in her long career to follow.

In 1971, Hafif moved to New York City to search out a return to painting at a time when the validity of painting was in doubt. In her watercolor series from 1974, she welcomes gravity’s pull on the aqueous pigment by painting on a slanted surface, evidence of chance verses intervention of her artistic hand methodology.

Marcia Hafif, Rome, 1962

As the works not only move geographically, but also materially, from graphite to paint to watercolor; Hafif continually finds herself between substance and void. Marcia Hafif: Change and Continuity, 1962 – 1974 invites you to observe this lineage which runs through Marcia Hafif’s work even in her most transformative years.

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Checklist

Editorial

The Paintings of Marcia Hafifby Fergus McCaffrey

In examining the work of Marcia Hafif, it has struck me again how arbitrary recognition can be in the art world. Factors such as gender, age, being in the right place at the right time, one’s name, the credibility of one’s dealer, and pure luck often appear to have greater…
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マーシャ・ハフィフの絵画ファーガス・マカフリー

マーシャ・ハフィフの作品を考察するにつれて、このアート世界がいかに恣意的な認識の中にあるかを改めて思い知らされた。性別、年齢、適切なタイミングで適切な場所にいること、作家の名声、ディーラーの信頼度、または純粋に運などの要素は、作品自体の質よりも、アート作品の受け手に大きな影響を与えるようだ。
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《玛西亚•哈希弗的绘画》弗格斯·麦卡弗雷著

在探讨玛西亚•哈希弗的作品时,我被艺术界中认同的肆意而震惊。像是性别、年龄、在恰当的时间处于恰当的地方、一个名字、一件画商的可信度、还有单纯的运气都有可能比你艺术作品质量的本身去影响你艺术作品的接受度。
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Marcia Hafif’s Last Interview (2018)

Editorial

Beginning Againby Marcia Hafif

This article was originally published in the September, 1978 issue of Artforum. The options open to painting in the recent past appeared to be extremely limited. It was not that everything had been done, but rather that the impulses to create which had functioned in the past were no longer urgent or even meaningful.
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ビギニング・アゲイン マーシャ・ハフィフ

最近の絵画における選択肢は非常に限られている。全てがすでに試されたからではなく、過去において機能していたものを再び作ることへの衝動はなくなり、その意義も薄れているからだ。魔術的なイメージを辿ったり、ストーリーを伝えたり、現状を報告したり、絵画上で風景や人物像を一対一の関係で表すこと。
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《重新开始》玛西亚•哈希弗著

最近,留给绘画的选择是相当的限制。这并不是因为所有事情已经做过了,而是以往激发创造的动力现在并不显得紧要或者有意义。描绘神奇的图像、叙述故事、报道、和表现在颜料中的一段景或者一个人物在一种一对一的关系里,这些都不在拥有它们曾经享受过的可信度。
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Selected Works

Installation Images

Fergus McCaffrey


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