February 5 - March 26, 2020
An exhibition from the permanent collection of the Rubin Center.
Curated by Exhibitions Coordinator Jose Krapp.
“The Rubin Center presents a selection of key works from our permanent collection in this Project Space exhibition curated by incoming Exhibitions Coordinator Jose Krapp. Jose joined the Rubin Center team in June of this year, bringing with him more than 20 years’ experience in the field of visual arts. Jose is also a practicing artist who works with diverse media including drawing, sculpture and site-specific installations. He was a 2004-2005 resident at the Border Arts Residency in La Union, New Mexico, and has exhibited in both solo and group exhibitions across the United States.
In his role at the Rubin Center, Jose will be in charge of coordinating design, installation and mounting of Rubin Center exhibitions, working closely with visiting artists from around the globe, local artists and consultants and with UTEP students in the Department of Art. He will have a leadership role in the Rubin Center’s on-site paid internship program providing training in museum standards and best practices in art installation and handling for our student staff, as well as overseeing our facility and our permanent collection. Torque, Stress, Compression, Expansion is a selection of works chosen by Jose in response to his first read of the works in our care. It includes pieces from Sam Francis, Claes Oldenburg, Alan D’Arcangelo, Ellsworth Kelly, Robert Rauchenberg and Maximo Gonzalez.”
In Jose’s own words “As a new member of the Rubin Center team I oversee the eclectic collection that the Rubin Center, though not a collecting institution, has acquired over the years. This group of works is a small snapshot of the many interesting works that are part of that collection. Most of these works might fit into the category of post-painterly abstraction with a few exceptions for contrast. Using line, color, and open composition these works weave in and out of abstraction. When viewed together they allow us to see more of the elements that comprise each work. The few representational objects allow the shapes and colors to stand out to the viewer while the abstractions make the “recognizable” images obvious. By placing these works together their differences allow us (if we try a little bit) to view them more deeply.”
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