Welcome back, color.
With the worship of sociopolitical polemics and high-minded conceptualism and supposed death of painting at the end of the 20th century, color became something of a quaint anachronism.
Offering a fitting visual elegy to Donald Judd and Agnes Martin, Pard Morrison borrowed from each of their sensibilities to advance the Minimalist esthetic.
The local artist who crafts international installations from his Cheyenne Canyon workshop talks about his work and inspiration. By Steven Hayward – for Springs Magazine – May 31, 2018 I first met Pard Morrison a decade ago. I asked him what he did for a living and his reply was simple: “I’m a sculptor.” A kind of local…
Columbus State University is adding to the public art environment in Uptown Columbus by installing a newly commissioned, site-specific, installation by artist Pard Morrison inside and outside Frank Brown Hall.
A significant public art project will be installed and dedicated in downtown Columbus next week. The sculpture, which will feature six unique parts, will be placed outside and inside Columbus State University’s Frank Brown Hall on the former Ledger-Enquirer site. The work by Colorado artist Pard Morrison will be dedicated Wednesday afternoon at Brown Hall. Morrison, who visited Columbus during the process to commission the work, will be here for the dedication.
by Jeff Dodge for Colorado State University College of Liberal Arts Magazine The colorful new 30-foot-high sculpture emerging from a water feature at the new U.S. Embassy building in The Hague was created by an alumnus of Colorado State University’s Department of Art and Art History who says the honor of being commissioned for the project…
The title of Pard Morrison’s show – “50 Ways to Fall in Love” – may put a song in your head, the pessimistic but funny Paul Simon tune about how to get out of a relationship, not into one.
Minimalism, despite its nomenclature, has been teaching us for decades that there is more to simplicity than meets the eye, even if what meets the eye is sometimes barely much of anything at all.
THE WORKS OF Pard Morrison are poetically titled chromatic studies that mimic the layout of the ivories and ebonies of a keyboard. Sequences of colors and regular shapes define the rhythm and measure of compositions that could be used as an improvisational composition by a skilled jazz musician. Area, saturation, and juxtaposition mirror the notes, rhythmic patterns, chords, and harmonies of musical scripts.
There’s nothing new about working at the intersection of art mediums, especially pieces that combine aspects of both painting and sculpture. Take, for instance, those bas-reliefs from antiquity. Since they are three-dimensional, they’re technically sculptures, but because they were meant to be viewed from one side only, they’re actually more like paintings.
Rule Gallery director Robin Rule has a taste for art with a less-is-more aesthetic, and she has made her place on Broadway Denver’s “minimalist central.” Over the years, she’s showcased first-generation minimalists from New York, including Carl Andre and Mary Obering, as well as local practitioners, notably Clark Richert, the dean of geometric painters in the region. Sometimesthough only rarelyRule takes a risk with an emerging local artist who is doing a contemporary take on minimalism.