Verna david rabinowitch biography

1943.
David Rabinowitch was born in 1943 in Toronto, Canada, and lives in New York City.
David Rabinowitch was born in Toronto in 1943.

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David Rabinowitch: Birth of Romanticism

Peter Blum is pleased to announce, Birth of Romanticism, a solo exhibition of mixed medium drawings by David Rabinowitch opening on Saturday, November 20th at Peter Blum Soho, 99 Wooster Street, New York. A book published by Peter Blum, Annemarie Verna Edition Zürich and Richter Verlag Düsseldorf will be released on occasion of the exhibition. The 80 page book features a text by Erich Franz.

The Birth of Romanticism series, begun in 2008, marks a new direction for the artist. The origin of the series began in the 1970s with a series of lithographs exploring the fluidity of form using subtle variations of tone. Rabinowitch named these print series after figures from the late eighteenth century Romanticism movement. Like the period after which they are named, the drawings contain a vitality and emotional quality not usually present in Rabinowitch’s sculpture or drawings. However, the series continues his investigation of space and perception.

Rabinowitch builds up the works through layering of surfaces and mediums. Linen is collage

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David Rabinowitch

These works were acquired by Donald Judd in the 1980s and installed by Judd in the Arena, the Elliptical Plane in the northwest corner, the 6-Sided Bar in the loft area.

David Rabinowitch was born in 1943 in Toronto, Canada, and passed in 2023. He exhibited internationally for over forty years and showed regularly at Galerie Annemarie Verna, Zürich and Peter Blum Gallery, New York. Solo museum exhibitions include David Rabinowitch: The Construction of Vision, Museum Wiesbaden, Wiesbaden, Germany (2017); David Rabinowitch: Church Drawings, Werke aus der Sammlung Kemp, Museum Kunstpalast, Düsseldorf (2016); David Rabinowitch: The Piégros Editions, Museum Pfalzgalerie Kaiserslautern, Kaiserslautern, Germany (2010); the National Gallery of Canada, Ottawa and Kunstmuseum Winterthur, Switzerland (both 2004); Westfälisches Landesmuseum für Kunst und Kulturgeschichte, Münster (2000); Zacheta Gallery of Contemporary Art, Warsaw, Galerie Starmach, Krakow, and the Museum of Modern Art, Niepolomice, Poland (1999); Fogg Art Museum, Harvard University, Cambridge, M

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About a hundred monotypes are shown in this exhibition. They are printed onto various sorts of small-format paper, or, as perhaps more fittingly described, peeled away from the rough, sometimes multipart woodblocks. The shapes convey the mass ((falls Plural von Mass: dimensions)) of the sculptural object onto which the paper was applied and from which the heavy, often unctuous paint substance was lifted. The sheets are of monochrome color – red, yellow, dark blue, brown, black. Painting is suggested. Yet the reference to sculpture becomes quite obvious. In 1962, the young artist stood at a crossroads. Unsatisfied with the possibilities of painting, he reacted by switching over to sculpture. The vocabulary of forms, the multipartite nature of some motifs, the thematicized cuts are a clear anticipation. The important sculptor went on to process and treat this rich fund in sculptures and drawings. The idiom is again recognizable in the autonomous inventions and independent constructions of the mature artist. Quick-ready spontaneity is not David Rabinowitch's thing. Hard work on