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Margie Livingston

Paint Objects

January 22 - February 26, 2011

Margie Livingston Dark to Light Colors in a Grid (five layers of each), 2010

Margie Livingston
Dark to Light Colors in a Grid (five layers of each), 2010
Acrylic 
4 x 8 x 8 in. 

Margie Livingston 221 White Layers in One Spot with 2 Feet, 2010  Acrylic 3 x 4 x 4.25 in.

Margie Livingston
221 White Layers in One Spot with 2 Feet, 2010
Acrylic
3 x 4 x 4.25 in. 

Margie Livingston 226 Black and White Layers in Two Spots, 2010  Acrylic 3.125 x 5.5 x 3.75 in.

Margie Livingston
226 Black and White Layers in Two Spots, 2010
Acrylic
3.125 x 5.5 x 3.75 in. 

Margie Livingston 276 White Layers in a Grid, 2010  Acrylic Approximately 4 x 6 x 6 in.

Margie Livingston
276 White Layers in a Grid, 2010
Acrylic
Approximately 4 x 6 x 6 in.

Margie Livingston 358 Black and White Layers in a Grid, 2010  Acrylic 4 x 8.25 x 8.5 in.

Margie Livingston
358 Black and White Layers in a Grid, 2010
Acrylic
4 x 8.25 x 8.5 in. 

Margie Livingston Asymmetrical Wrap, 2010 Acrylic 8 x 8 x 12 in.

Margie Livingston
Asymmetrical Wrap, 2010
Acrylic
8 x 8 x 12 in. 

Margie Livingston Coiled Painting, Mostly Green, 2010 Acrylic 14 x 1.5 x 1 in.

Margie Livingston
Coiled Painting, Mostly Green, 2010
Acrylic
14 x 1.5 x 1 in. 

Margie Livingston Eight Knotted Strips in a Pile, 2010 Acrylic ​17 x 20 x 20 in. as shown (dimensions variable)

Margie Livingston
Eight Knotted Strips in a Pile, 2010
Acrylic
17 x 20 x 20 in. as shown (dimensions variable)

Margie Livingston Eight Piles of White Paint, Each with 224 Layers, 2010 Acrylic ​3 x 5 x 16 in.

Margie Livingston
Eight Piles of White Paint, Each with 224 Layers, 2010
Acrylic
3 x 5 x 16 in. 

Margie Livingston Folded Painting with Yellow Green and Neutral Red, 2010  Acrylic 6.75 x 4.75 x 2 in.

Margie Livingston
Folded Painting with Yellow Green and Neutral Red, 2010 
Acrylic
6.75 x 4.75 x 2 in.

Margie Livingston Knotted Painting on Metal Rod with Two Points Attached, 2010  Acrylic, metal, and adhesive,  21 x 9 x 6 in.

Margie Livingston
Knotted Painting on Metal Rod with Two Points Attached, 2010
Acrylic, metal, and adhesive,
21 x 9 x 6 in. 

Margie Livingston Large Wrap over Organic Shape, White to Black, 2010  Acrylic 7.25 x 6.5 x 16 (cut in half) in.

Margie Livingston
Large Wrap over Organic Shape, White to Black, 2010
Acrylic
7.25 x 6.5 x 16 (cut in half) in. 

Margie Livingston Black and Dark Blue over Green with Pale Green Spots, 2010  Acrylic, approximately  5 x 5 x 11 in.

Margie Livingston
Black and Dark Blue over Green with Pale Green Spots, 2010
Acrylic, approximately
5 x 5 x 11 in.

Margie Livingston Study for Spiral Block #3, 2010  Acrylic 6 x 6 x 6 in.

Margie Livingston
Study for Spiral Block #3, 2010
Acrylic
6 x 6 x 6 in. 

Margie Livingston 146 Fluid Black and White Layers in a Grid, 2010  Acrylic ​1.5 x 10 x10 in.

Margie Livingston
146 Fluid Black and White Layers in a Grid, 2010
Acrylic
1.5 x 10 x10 in. 

Margie Livingston Coiled Painting with Yellow and Orange Foot, 2010  Acrylic 16.5 x 1.75 x 2 in.

Margie Livingston
Coiled Painting with Yellow and Orange Foot, 2010
Acrylic
16.5 x 1.75 x 2 in. 

Margie Livingston  Paint Collage, 2010 Acrylic Approximately 18 x 18 in.

Margie Livingston 
Paint Collage, 2010
Acrylic
Approximately 18 x 18 in. 

Margie Livingston Paint Line (detail), 2009–10 Acrylic and steel cable ​240 x 2 x 2 in.

Margie Livingston
Paint Line (detail), 2009–10
Acrylic and steel cable
240 x 2 x 2 in. 

Margie Livingston Paint Line (detail), 2009–10 Acrylic and steel cable ​240 x 2 x 2 in.

Margie Livingston
Paint Line (detail), 2009–10
Acrylic and steel cable
​240 x 2 x 2 in. 

Margie Livingston White to Black with Orange Over and Flecked with Yellow and Pink, 2010  Acrylic Diameter approximately 7 inches (cut in half)

Margie Livingston
White to Black with Orange Over and Flecked with Yellow and Pink, 2010
Acrylic
Diameter approximately 7 inches (cut in half)

Margie Livingston One Pile of Paint, Dark to Light #1, 2010 Acrylic 3 x 3 x 3 in.

Margie Livingston
One Pile of Paint, Dark to Light #1, 2010
Acrylic
3 x 3 x 3 in.

Margie Livingston One Pile of Paint, Dark to Light #2, 2010 Acrylic  3 x 3 x 3 in.

Margie Livingston
One Pile of Paint, Dark to Light #2, 2010
Acrylic
 3 x 3 x 3 in. 

Margie Livingston Paint Collage with Grommets, 2010 Acrylic and grommets Approximately 18 x 18 in. (reversible, variously configurable; as shown, folded up to one of five nails)

Margie Livingston
Paint Collage with Grommets, 2010
Acrylic and grommets
Approximately 18 x 18 in. (reversible, variously configurable; as shown, folded up to one of five nails)

Margie Livingston Paint Collage with Grommets, 2010 Acrylic and grommets, approximately 18 x 18 (reversible, variously configurable)

Margie Livingston
Paint Collage with Grommets, 2010
Acrylic and grommets
Approximately 18 x 18 in. (reversible, variously configurable)

Margie Livingston Paint Sawdust Block, 2010  Acrylic 6.125 x 6 x 5.75 in.

Margie Livingston
Paint Sawdust Block, 2010
Acrylic
6.125 x 6 x 5.75 in. 

Margie Livingston Plank with Yellow Fill (detail), 2010  Acrylic  1.5 x 96.75 x 3.5 in.

Margie Livingston
Plank with Yellow Fill (detail), 2010
Acrylic 
1.5 x 96.75 x 3.5 in. 

Margie Livingston Plank with Yellow Fill, 2010  Acrylic  1.5 x 96.75 x 3.5 in.

Margie Livingston
Plank with Yellow Fill, 2010 
Acrylic 
1.5 x 96.75 x 3.5 in. 

Margie Livingston Points and Lines, 2010  Acrylic 6 x 6 x 5.25 in.

Margie Livingston
Points and Lines, 2010
Acrylic
6 x 6 x 5.25 in. 

Margie Livingston Reversible Glue Test, Failed, 2010 Acrylic on studio wall Approximately 16 x 18 in.

Margie Livingston
Reversible Glue Test, Failed, 2010
Acrylic on studio wall
Approximately 16 x 18 in. 

Margie Livingston  Room, 2010 Acrylic and adhesive 2.5 inches x 120 feet (continuous row of paint drops glued all around the gallery’s walls at the artist’s eye level

Margie Livingston 
Room, 2010
Acrylic and adhesive
2.5 inches x 120 feet (continuous row of paint drops glued all around the gallery’s walls at the artist’s eye level
 

Margie Livingston Small Melted Wafer Board with Small Wafer Board on the Reverse, 2010 Acrylic on powder-coated steel shelf 7.5 x 7.5 x .75 in.

Margie Livingston
Small Melted Wafer Board with Small Wafer Board on the Reverse, 2010
Acrylic on powder-coated steel shelf
7.5 x 7.5 x .75 in. 

Margie Livingston Small Wafer Board with Small Melted Wafer Board on the Reverse, 2010  Acrylic on powder-coated steel shelf ​7.5 x 7.5 x .75 in.

Margie Livingston
Small Wafer Board with Small Melted Wafer Board on the Reverse, 2010 
Acrylic on powder-coated steel shelf
7.5 x 7.5 x .75 in. 

Margie Livingston Wafer Board, 2010 Acrylic on panel ​30 x 22 in.

Margie Livingston
Wafer Board, 2010
Acrylic on panel
30 x 22 in.

Margie Livingston Study for Spiral Block #3, 2010  Acrylic 6 x 6 x 6 in.

Margie Livingston
Study for Spiral Block #3, 2010
Acrylic
6 x 6 x 6 in.

 

Margie Livingston Three Dark to Light Piles, Each with 305 Layers, 2010  Acrylic 3 x 3 x 8 in.

Margie Livingston
Three Dark to Light Piles, Each with 305 Layers, 2010
Acrylic
3 x 3 x 8 in.

Margie Livingston White Knotted Painting, 2010  Acrylic 22 x 5 x 5 in.

Margie Livingston
White Knotted Painting, 2010
Acrylic
22 x 5 x 5 in. 

Margie Livingston White Drip Line (detail), 2010  Acrylic and string 240 x 2.5 x 3.25 in.

Margie Livingston
White Drip Line (detail), 2010
Acrylic and string
240 x 2.5 x 3.25 in. 

Margie Livingston Yellow, Red, and Black Folded Painting with White Edge, 2010  Acrylic on metal. 47.25 x 13 x 16 in.

Margie Livingston
Yellow, Red, and Black Folded Painting with White Edge, 2010
Acrylic on metal.
47.25 x 13 x 16 in.

Installation View of Margie Livingston: Paint Objects

Installation View of Margie Livingston: Paint Objects

Installation View of Margie Livingston: Paint Objects

Installation View of Margie Livingston: Paint Objects

Installation View of Margie Livingston: Paint Objects

Installation View of Margie Livingston: Paint Objects

Installation View of Margie Livingston: Paint Objects

Installation View of Margie Livingston: Paint Objects

Installation View of Margie Livingston: Paint Objects

Installation View of Margie Livingston: Paint Objects

Installation View of Margie Livingston: Paint Objects

Installation View of Margie Livingston: Paint Objects

Installation View of Margie Livingston: Paint Objects

Installation View of Margie Livingston: Paint Objects

Installation View of Margie Livingston: Paint Objects

Installation View of Margie Livingston: Paint Objects

Installation View of Margie Livingston: Paint Objects

Installation View of Margie Livingston: Paint Objects

Installation View of Margie Livingston: Paint Objects

Installation View of Margie Livingston: Paint Objects

Installation View of Margie Livingston: Paint Objects

Installation View of Margie Livingston: Paint Objects

Installation View of Margie Livingston: Paint Objects

Installation View of Margie Livingston: Paint Objects

Installation View of Margie Livingston: Paint Objects

Installation View of Margie Livingston: Paint Objects

Installation View of Margie Livingston: Paint Objects

Installation View of Margie Livingston: Paint Objects

Installation View of Margie Livingston: Paint Objects

Installation View of Margie Livingston: Paint Objects

Installation View of Margie Livingston: Paint Objects

Installation View of Margie Livingston: Paint Objects

Installation View of Margie Livingston: Paint Objects

Installation View of Margie Livingston: Paint Objects

Installation View of Margie Livingston: Paint Objects

Installation View of Margie Livingston: Paint Objects

Installation View of Margie Livingston: Paint Objects

Installation View of Margie Livingston: Paint Objects

Installation View of Margie Livingston: Paint Objects

Installation View of Margie Livingston: Paint Objects

Installation View of Margie Livingston: Paint Objects

Installation View of Margie Livingston: Paint Objects

Installation View of Margie Livingston: Paint Objects

Installation View of Margie Livingston: Paint Objects

Installation View of Margie Livingston: Paint Objects

Installation View of Margie Livingston: Paint Objects

Installation View of Margie Livingston: Paint Objects

Installation View of Margie Livingston: Paint Objects

Installation View of Margie Livingston: Paint Objects

Installation View of Margie Livingston: Paint Objects

Installation View of Margie Livingston: Paint Objects

Installation View of Margie Livingston: Paint Objects

Installation View of Margie Livingston: Paint Objects

Installation View of Margie Livingston: Paint Objects

Installation View of Margie Livingston: Paint Objects

Installation View of Margie Livingston: Paint Objects

Press Release

Margie Livingston has long been admired for her abstract paintings that articulate the interaction between the architectural grid and the natural, organic world.  Based on three-dimensional models that she builds in the studio, her paintings directly translate the phenomena of space, light, color and gravity upon these hybrid structures into lines and bands of color that hang seemingly suspended in space.  Now, letting accident and discovery meet invention and experimentation,  Livingston reverses her usual process, using paint to construct objects.  Her new paint objects--built entirely from dots, strips, and skins of dried acrylic pigment--investigate the properties of paint pushed into three dimensions and offer a compelling view into how the medium of  paintcan be used sculpturally.  With this major transformation of her practice Livingston has moved away from working with the illusion of space and toward working with literal space, constructing  objects that straddle two media--painting and sculpture.

Experimentation drives Margie Livingston's work, sometimes by accident or serendipity.  For example, when a paint skin detached itself from the wall where it was being used to test an adhesive, she picked it up and folded it like a piece of laundry.  That mishap became Folded Painting, Small (2009)--the first in a series.  The simple domestic act of folding these swaths of marbled color allows the object to flux between finished product and waiting-to-be-used resource.*  And when another work in progress turned out to have too many cracks, she set it aside until it occurred to her that she could approach it as if it were a piece of wood and shape it into a cube. The result was the first work in her "paintblock" series.  Livingston literally pours gallons of paint out in sheets and lets them dry for days, like so much acrylic fruit leather. Each layer is made of several gallons of acrylic paint, poured, splashed, dripped, and formed in an expressionistic manner.*  Attention to fleeting impressions and associations also has its place, as when Livingston noticed her eye being drawn more to the drops of paint on her studio floor than to the canvas she was painting. This observation eventually led to Room (2008), a single continuous row of more than 3,000 paint drops lined up and glued at eye level all around the walls of the gallery.  Although Room is a two-dimensional painting, it had the effect of turning the gallery itself into a painting that the viewer could enter and walk through.  Livingston will present the second iteration of Room in this exhibition. 

 

As Livingston makes new work and incubates new ideas about painting and sculpture, she often does so in dialog with other artists.  Her paintblocks are a riff on the minimalist sculptures of Donald Judd, Carl Andre, and Charles Ray, and her folded and coiled paintings offer a nod to the sculpture and studioworks of Linda Benglis and Eva Hesse, and even Barnett Newman.  But these new pieces also subvert, challenge, and recontextualize the works of those artists.  Although the paintblocks may look like wooden sculptures, they are actually objectsmade from acrylic.  And even the scraps left over from cutting the paintblocks have their uses--Livingston reconstitutes them as flat shapes reminiscent of waferboard. Thus, her images, rooted in process and conceptual reference, are depictions of raw materials that hold the potential for becoming still other artworks.*
 
Equally fascinating is how Livingston subsumes and feminizes traditionally macho art traditions, particularly those of abstract expressionism and minimalism.  The image of Livingston heaving paint onto the floor inevitably brings to mind Jackson Pollock.  A difference here is that after producing nearly a dozen of these canvas-free paintings, Livingston literally obliterates each one by rolling it up and then slicing the log into lengths. The gesture of individual expression is sliced by machinery; layers of accident, collaboration, and culinary skills draw attention away from the hand of the artist and towards the process itself while, at the same time, the object is clearly a finished product with presence.**

* Jeannie R. Lee, ArtScene Preview: Margie Livingston, January 4, 2011.
** Noah Simblist, An Archaeology of Practice: The Object of Paint(ing) in the Contemporary Sublime, Margie Livingston: Paint Objects, catalog published in conjunction with exhibition at Luis De Jesus Los Angeles, 2011.

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