ROBERT MANGOLD AND PRINTMAKING
For Robert Mangold, printmaking and drawing are ways of investigating process and visual ideas. Associated with the Minimalist art movement of the 1960s, Mangold developed a reductive vocabulary based on geometric forms, monochromatic color, and an emphasis on the flatness of the painted picture plane. Within this seemingly proscribed repertoire, his work has evolved over time to a heightened complexity and lyricism through the use of innovatively shaped asymmetric and multiple-panel canvases and works on paper, curvilinear lines that connect and unify geometric shapes, and ineffable and surprising color combinations.
Mangold rarely conceives of a single work, choosing instead to approach an idea again and again, with related groups developing. Working non-hierarchically with drawing, printmaking, and painting, the artist elaborates, reconsiders, and amplifies visual ideas in different scales and media. Over the course of a remarkably distinguished fifty-year career, very distinct bodies of work are clearly identifiable, but so are interwoven themes and variations that emerge, recede, and intersect in what artist and critic Robert Storr describes as “overlapping components of a larger orchestral work”.