Charles Gaines – pivotal figure in the field of conceptual art, esteemed CalArts educator, and influential member of the LA arts community – presents this online exhibition of 10 Plexiglas gridworks conceived and executed in recent months during this time of isolation. This presentation is a continuation of the artist’s critically admired 2019 exhibition ‘Charles Gaines. Palm Trees and Other Works’ at Hauser & Wirth Los Angeles.
Numbers and Trees: Palm Canyon, Palm Trees Series 3, Tree #1, California
Numbers and Trees: Palm Canyon, Palm Trees Series 3, Tree #2, Arizona
Numbers and Trees: Palm Canyon, Palm Trees Series 3, Tree #3, Texas
In this new series, Gaines evolves the complex conceptual system employed in his previous series to create smaller, gridded forms of palm trees in acrylic on and behind Plexiglas. With the form of the palm tree serving as a common denominator across these distinct series, Gaines makes successive modifications to scale, color, and background, evidencing his theory that while ‘the system has never changed, the outcome is always different.’ Each work in this third palm tree series is titled with a state where this type of tree naturally grows.
Images of trees have figured prominently in Gaines’s practice since the mid-1970s, when he first began plotting their forms through a system of numbered grids in the series ‘Walnut Tree Orchard’ (1975 – 2014). His methodical examination continues in the ‘Numbers and Trees’ Plexiglas series, which began in 1986 and has continually evolved to include the work in this online exhibition. Each work in this series was realized by overlaying the forms of trees one at a time and in succession. Following this process, each of the 10 trees was assigned a distinctive color and a numbered grid that reflects the positive space of the tree.
Numbers and Trees: Palm Canyon, Palm Trees Series 3, Tree #4, Oklahoma
Numbers and Trees: Palm Canyon, Palm Trees Series 3, Tree #5, Louisiana
Numbers and Trees: Palm Canyon, Palm Trees Series 3, Tree #6, Mississippi
By constructing space between a specific symbol and the systems applied to its representation through measurable values of color, Gaines’s distinctive approach forges a critical link between first generation American conceptualists like Sol LeWitt, and subsequent generations of artists that include Gaines’s former students Edgar Arceneaux, Andrea Bowers, Mark Bradford, and Sam Durant, among others who are pushing the limits of conceptualism today.
‘If an image can be produced or a work can be produced out of a system, then the idea of the creative imagination as being necessary for works of art would be false.’
Numbers and Trees: Palm Canyon, Palm Trees Series 3, Tree #7, Alabama
Numbers and Trees: Palm Canyon, Palm Trees Series 3, Tree #8, Florida
Numbers and Trees: Palm Canyon, Palm Trees Series 3, Tree #9, Georgia
The back panel features an enlarged detail, or as Gaines refers to it, an ‘exploded’ image of the newest tree. As seen in ‘Numbers and Trees: Palm Canyon, Palm Trees Series 3, Tree #2, Arizona’ (2020), the second tree in the series, this work features two distinct trees on the surface of the Plexiglas and an ‘exploded’ image of the second tree in a color that presages the third tree in the following work of the series. From a distance, these swaths of color form a cohesive effect on the grid. Upon approach, the work reveals the forms’ representational underpinnings and frameworks – a model that Gaines has consistently employed in his critique of systems and representation.
About the artist
A pivotal figure in the field of Conceptual Art, Charles Gaines’ body of work engages formulas and systems that interrogate relationships between the objective and the subjective realms. Using a generative approach to create series of works in a variety of mediums, he has built a bridge between the early conceptual artists of the 1960s and 1970s and subsequent generations of artists pushing the limits of conceptualism today.
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