Gabriele Evertz: Chronology
by Matthew Deleget
The following text was published in the exhibition catalogue Gabriele Evertz: Path on the occasion of the artist’s solo exhibition at MINUS SPACE, Brooklyn, NY, from September 10 - December 17, 2022.
1945
Born on August 27 in the small town of Rangsdorf, in the district of Brandenburg, 25 miles/40 kilometers south of Berlin, as the oldest daughter of Ursula and Josef Evertz. The Soviet army occupies the area, Germany having surrendered its military forces to the Allies three months earlier on May 8.
The Iron Curtain descends on Europe, dividing East from West Germany. The fear of an imminent Soviet takeover persists.
Early Years
First encounters painting at her maternal grandmother’s nearby house. With no children to play with or schools open, spends first seven years playing outside and observing nature in forests and fields. Also witnesses the heavy destruction and bomb craters in the surrounding area, including the Rangsdorf airfield, which was built for the 1936 Olympic Games in Berlin, used by the Luftwaffe during the war, and occupied by the Soviet military. Plays with her father’s African art collection in lieu of toys.
1948
On June 24, Soviet forces blockade all road, rail, and water access to Allied-controlled areas of Berlin. The United States and United Kingdom begin the Berlin Airlift to deliver food and fuel to West Berlin. Crisis ends one year later on May 12, 1949, when Soviet forces lift the blockade.
1952
Her immediate family relocates to the American sector of West Berlin and eventually settles at Halskestrasse 6, leaving Soviet-occupied East Germany. Her maternal grandmother remains in the east. The move begins a lifelong interest in and affection for American culture.
In the fall, she enrolls in the Friedrich-Bayer-Schule at age seven, the first time she attends school.
1961
Takes a field trip with her class to Paris and Versailles. Visits the Cathédrale Notre-Dame de Paris; its 13th-century stained glass windows bring a profound awareness of color experience in space.
Witnesses the start of the construction of the Berlin Wall on August 13, which originally consists of concrete blocks and barbed wire snaking throughout the entire city. The wall physically cuts off her extended family.
1962
Reads works by American authors Ernest Hemingway and Jack Kerouac, and by Allen Ginsberg and other Beat Poets.
Graduates from the Friedrich-Bayer-Oberschule.
Enters an architectural apprenticeship grounded in theory and practice with the firm Alfred W. Rahn in West Berlin. Education includes history of architecture, drafting instruction, and practical training at construction sites. The idea of architecture, in a destroyed city, represents the future for her. Starved of governmental financial investment, West Berlin is slowly reconstructed.
Learns about the Bauhaus Berlin-Steglitz (1931–1933), which was dissolved by Ludwig Mies van der Rohe and faculty on July 20, 1933. The school had been located six blocks from her apartment building, but was destroyed during the war.
1963
The Gedächtniskirche/Kaiser Wilhelm Memorial Church designed by Egon Eiermann (1904–1970) in West Berlin is completed. The original structure had been erected in 1891 and damaged by bombing in 1943. After a lively public debate among Berliners about whether to raze or restore the structure, the design adds a new modern tower and chapel. The new church’s stained glass walls are made of predominantly blue blocks interlaced with small areas of red, yellow, and green.
During this and subsequent summers, vacations with her family on the remote north German island of Sylt located in the North Sea near the Danish border, where she experiences the power and expansiveness of the sea. At the local library, begins her studies of Philipp Otto Runge’s color theory, and later Johann Wolfgang von Goethe’s color theory. Recalls her parents supplying her with additional art books on Paul Cezanne, Serge Poliakoff, and others. In nearby Seebüll, visits the artist Emil Nolde’s home, studio, and garden, designed by Nolde in 1927.
1965
Completes her architectural apprenticeship and receives diploma from the Handelsschule, West Berlin.
Using funds from her apprenticeship, leaves for New York City on May 25 on an exploratory trip of the United States, not originally intending to stay longer than one year. Shortly thereafter starts working. Takes first job at a concession stand at the New York World’s Fair in Flushing Meadows–Corona Park, Queens, New York. Continues to visit family in West Berlin annually.
1966
After a series of junior jobs, becomes aware of and accepts a position with Chase Manhattan Bank’s Facilities Department as a draftsman. The building, designed by Skidmore Owings & Merrill, is filled with the bank’s expansive art collection, including works by Mark Rothko, Ad Reinhardt, and Lee Bontecou.
For the next 20 years, works during the daytime and studies at night.
Thoroughly immerses herself in American culture. Takes architecture and design classes at Pratt Institute, Brooklyn, New York. Continues until 1972. Also takes night classes in conversational English.
Frequently visits the Museum of Modern Art and has first profound experiences with paintings by Jackson Pollock, Barnett Newman, Hans Hofmann, and Clyfford Still.
1969
Travels to Rio de Janeiro, Brazil, and stays near Copacabana Beach. There she becomes aware of a unique light and visual and music culture, and of color combinations, such as lime green and vivid orange, that lead to an “elevated level of color consciousness.”
1970
Travels to the Grand Canyon. Thinks about the vastness of space, scale, and “presentness,” especially in relation to the isolation and confinement of West Berlin.
Continues to travel annually across the United States and abroad every year until the present, including to sites such as the Great Serpent Mound historical site in Adams County, Ohio, in 1978, and Stonehenge, United Kingdom, in 1983, among many others.
1972
Transfers from Pratt Institute to Hunter College, New York, New York.
1980
Awarded her BA in Art History from Hunter College. Graduates magna cum laude.
1982
Becomes a citizen of the United States.
1987
Permanently leaves the corporate world and enrolls in the MFA Program at Hunter College. Studies with William Agee, Susan Crile, Marcia Hafif, Valerie Jaudon, Vincent Longo, Doug Ohlson, Alfred Stadler, Robert Swain, Mac Wells, and Sanford Wurmfeld. Begins to utilize the visual logic of the square as a “way of controlling color.” The formal logic of shape and color reflects her earlier work in architectural design.
1989
In her paintings, such as Night Spectrum (1989, acrylic on canvas, 60 x 60 inches), struggles to reconcile the brushstroke mark with the perception of spectral color.
1990
Graduates with an MFA in painting from Hunter College in the fall. Exhibits Painting Type I (Roman) (1990, acrylic on canvas, 108 x 144 inches, nonextant) in her Thesis Show and then again later in group exhibition Presentational Painting, co-curated by artists Sanford Wurmfeld and Eileen Roaman, at Hunter College, New York, New York, October 20–November 20, 1993.
Begins working for Hunter College as manager of the MFA Studio Building at 450 West 44th Street, New York, New York. Begins teaching a foundation class to undergraduate students in the evening.
Continues researching De Stijl and European Concrete Art, as well as artists Max Bill, Richard Paul Lohse, Robert Delaunay, and Sonia Delaunay.
Commits to the perception and history of color as the primary subject matter of her painting. Her point of departure is the organization of color.
Visits Vincent van Gogh’s centennial exhibit in two Netherlands museums: the Vincent Van Gogh National Museum in Amsterdam and the Kroeller-Mueller Museum in Otterlo.
Co-organizes first group exhibition April Fools with artist Beth Wesson at the new Hunter College/Times Square Gallery at 450 West 41st Street, New York, New York.
Reconnects with architect Andrew Wojtas, whom she first met years earlier.
1991
Attends a symposium on Georges Seurat at the Metropolitan Museum of Art regarding his scientific use of color.
For four consecutive summers (1991–1994), paints in the outsized gallery space of Hunter’s MFA Studio Building, which is closed to the public for the season.
1993
Marries architect Andrew Wojtas. Honeymoons in Sylt, Germany. Again visits artist Emil Nolde’s home, studio, and garden in nearby Seebüll.
Exhibits in group exhibition Presentational Painting, curated by artist Sanford Wurmfeld with Eileen Roaman, at Hunter’s MFA Building, New York, New York, October 20–November 20. Wurmfeld coins the term “Presentational Painting” as “a strain of modern art that originated around 1910 when painting departed entirely from reproduction and thus representation of the object. It stands at opposite ends to abstraction and must be distinguished from it since abstraction denotes art that does not relinquish its relationship to the exterior. But it is important to note that abstraction paved the way for a greater consideration of the role of viewer participation…” Participating artists also include John Allen, Damien Barchowsky, Susan Fisher, Joe Letitia, Tom Martinelli, Steven Salzman, Jeff Schneider, and Christopher Willard.
1994
Participates in group exhibition New York Abstract Painting at Salvatore Ala Gallery, New York, New York.
1996
Establishes studio in Greenport, Long Island, New York. Works there intensively during the summers until 2017.
With artist Robert Swain, co-curates survey exhibition Mac Wells: Light into Being at Hunter College, New York, New York, October 1–November 16.
Joins the group American Abstract Artists, founded in 1936. She is nominated by the artist Mac Wells (1925–2009).
1997
Assists artist Sanford Wurmfeld with exhibition Presentational Painting II at the Bertha and Karl Leubsdorf Gallery, Hunter College, New York, New York, September 30–November 8. Publishes her first essay, Indefinable Pleasures: Color in Presentational Painting, in the exhibition catalogue.
Travels to Berlin and visits the Bauhaus Archive and Pergamon Museum. Also attends the Bertolt Brecht Theater.
1998
Begins teaching full-time in the Department of Art and Art History at Hunter College, New York, New York, during the fall semester.
Mounts her first solo show at Yearsley Spring Gallery, Philadelphia, Pennsylvania. New paintings are based on the motion parallax effect, a term used in perceptual psychology that implies that when you move your head only slightly, you get a different view of the world. Exhibits several shaped canvases intended to elicit a physical response in the viewer. Breaks with the square format as a two-dimensional element and adopts the stripe, augmented by the diagonal. Becomes increasingly aware of the importance of the viewer’s participation in her work.
Travels to Mexico and visits Chichen Itza in the Yucatán Peninsula.
1999
Curates the comprehensive survey exhibition Set in Steel, The Sculpture of Antoni Milkowski at the Hunter College/Times Square Gallery, New York, New York, October 6–November 20. On view are large-scale works surveying 36 years of the sculptor’s exploration from 1963–1999. Publishes her essay Milkowski’s Muse in the exhibition catalogue.
Travels to Germany and visits the museum Rungehaus, the birthplace of the artist Philipp Otto Runge (1777–1810).
2001
During the summer, exhibits her site-specific sculpture Color Column (2001, acrylic on plywood, 144 x 12 x 12 inches, nonextant) in outdoor exhibition Footfalls on the waterfront in Greenport, Long Island, New York.
Travels to see Sanford Wurmfeld’s Cyclorama exhibition at the Osthaus Museum, Hagen, Germany. Then travels with Wurmfeld and Stephen Davis to the Josef Albers Museum in Bottrop, Germany. Also travels to the Victor Vasarely Museum in Budapest, Hungary.
2002
With artist Robert Swain, visits Barnett Newman retrospective in Philadelphia, PA, and is particularly moved by Newman’s use of saturated color, outsized scale, and his embrace of the humanities in abstraction.
Visits the Josef and Anni Albers Foundation in Bethany, Connecticut.
2003
In collaboration with Dr. Michael Fehr, co-curates group exhibition Seeing Red: An International Exhibition of Nonobjective Painting, a joint exhibition at the Hunter College/Times Square and the Bertha and Karl Leubsdorf Galleries, New York, New York, January 3–May 3, and March 12–April 26. On view are over 80 paintings dealing with the color red, as well as sample pigments, an artist’s studio work table, and art historical resources concerning color theory. Publishes her essay Light Sensations in Painting and Nature in the exhibition publication.
Participates in two-day symposium, Color as Experience, at the Goethe-Institut New York, March 14–15. Moderator: Sanford Wurmfeld. Keynote Speaker: John Gage. Speakers: Dr. Michael Fehr, Georges Roque, Klaus Honnef, William Agee, David Brainard, Jim Gorgon, Dr. Christoph von Campenhausen, Robert Swain, Gabriele Evertz. Respondents: David Anfam, Richard Anuszkiewicz.
2004
Participates in her first international museum group exhibition, Die Farbe hat mich II, at Karl Ernst Osthaus-Museum, Hagen, Germany.
2005
Exhibits her work Fear and Trembling: RYB (2005, acrylic on canvas, 96 x 204 inches) in the Faculty Exhibition at Hunter College/Times Square Gallery, New York, New York, as an homage to Barnett Newman.
Travels to Cranbrook Academy of Art in Bloomfield Hills, Michigan, to hear and meet artist Bridget Riley.
2006
Curates group exhibition Presentational Painting III at Hunter College/Times Square Gallery, New York, New York, February 16–April 15. Publishes her essay, Observations for a Young Painter, in the exhibition catalogue.
Paints a group of works dealing with in-and-out-of-focus, cinematographic effects. The width of the vertical stripes taper from top to middle to bottom and back, creating the effect that the painting’s center section appears out of focus.
Travels to the Museum Sztuki, Łódź, Poland, for the exhibition of Władysław Strzemiński (1893–1952) and Katarzyna Kobro (1898–1951).
Meets artists Hartmut Böhm (1938–2021), Ludwig Wilding (1927–2010), and Klaus Schoen (1931–2018) in Berlin, Germany.
2007
Her painting Motion Parallax (1998, acrylic on shaped canvas, 72 x 72 inches) is included in the survey exhibition Op Art Now and Then, curated by Joe Houston, at the Columbus Museum, Columbus, Ohio. The work enters the museum’s permanent collection.
Participates in group exhibition Escape from New York, curated by Matthew Deleget and Rossana Martinez, at Sydney Non Objective in Sydney, Australia, August 3–September 2. Exhibition later travels to additional venues including Project Space Spare Room, RMIT University, Melbourne, Australia, May 8–29, 2009, and The Engine Room, Massey University, Wellington, New Zealand, April 22–May 8, 2010.
Exhibits in The Optical Edge, a group exhibition curated by artist and writer Robert C. Morgan at Pratt Manhattan Gallery, New York, New York, March 8–April 14.
2008
Participates in the major survey exhibition Minus Space, featuring 54 artists from 14 countries, curated by Phong Bui, at MoMA PS1, Queens, New York, October 19, 2008–May 4, 2009.
2009
Michael Feldman produces two short documentary films about the artist: Gabriele Evertz Documentary and Gabriele Evertz Paints a Color Study. Peter Canale and Stocan Films produce the short film Studio Visit: Gabriele Evertz.
Organizes international group exhibit Color Exchange: Berlin-New York at the Galerie Parterre, Berlin, Germany, January 28–March 1, which then travels to Metaphor Contemporary Art, Brooklyn, New York, March 27–April 26.
2010
Curates comprehensive survey Visual Sensations: The Paintings of Robert Swain, 1967—2010 at the Hunter College/Times Square Gallery, New York, New York, October 7–November 13. Publishes her essay Visual Sensations in the exhibition publication.
2011
Mounts first solo exhibition, Rapture, at Minus Space, Brooklyn, New York, November 5–December 17. Over the previous two decades, she has developed and refined a purely experiential, highly saturated palette involving twelve colors. The history of color organization becomes a tool that informs her systematic color structures. She also uses black, white, and gray. Additionally, she views complementary colors within her system, such as blue and orange, not as antagonistic, but rather as “true chromatic partners.”
Participates in group exhibition Harmonies in Color at the Louisiana Art & Science Museum, Baton Rouge, Louisiana.
Exhibits in group exhibition Pointing a Telescope at the Sun along with artists Vincent Longo, Doug Ohlson, Robert Swain, and Sanford Wurmfeld at Minus Space, Brooklyn, New York, August 6–September 17, 2011. The exhibition was dedicated to the memory of Doug Ohlson (1936–2010), who had died the previous year.
2012
Mounts solo exhibitions Optic Drive at David Richard Gallery, Santa Fe, New Mexico, and Geometry of Color at Art Sites, Riverhead, New York.
Exhibits in group show MINUS SPACE: Mark Dagley, Gabriele Evertz & Gilbert Hsaio, curated by Matthew Deleget, at the experimental artist-run space The Suburban, Oak Park, Illinois, January 22–February 26.
Participates in international Op Art survey exhibition Buzz: Roesler Hotel #21, curated by Vik Muniz, at Galeria Nara Roesler, Sao Paolo, Brazil, December 1, 2012–February 16, 2013. Participating artists also include Abraham Palatnik, Alexander Girard, Almir da Silva Mavignier, Aluísio Carvão, Angelo Venosa, Bridget Riley, Carlos Cruz-Diez, Felipe Barbosa, François Morellet, Fred Tomaselli, Geraldo de Barros, Gilbert Hsiao, Gyula Kosice, Heinz Mack, Hélio Oiticica, Hercules Barsotti, Hermelindo Fiaminghi, Iran do Espírito Santo, Israel Pedrosa, Iván Navarro, Ivan Serpa, Jesús Rafael Soto, Jim Isermann, José Patrício, Josef Albers, Julio Le Parc, Karin Davie, Larry Poons, Lothar Charoux, Lucia Koch, Luiz Sacilotto, Lygia Pape, Marc Handelman, Marcel Duchamp, Marcos Chaves, Mark Dagley, Markus Linnenbrink, Maurício Nogueira de Lima, Michelle Grabner, Olafur Eliasson, Paulo Roberto Leal, Peter Schuyff, Philippe Decrauzat, Richard Anuszkiewicz, Roberto Cabot, Rodolpho Parigi, Ross Bleckner, Rubem Ludolf, Sérgio Camargo, Suzanne Song, Tauba Auerbach, Tiago Tebet, Ubi Bava, Verner Panton, Victor Vasarely, Waldemar Cordeiro, Wayne Gonzales, Xylor Jane, and Yayoi Kusama.
Paints The Black Room Series, which is inspired by the late 1st century BCE Roman villa bedroom at the Metropolitan Museum of Art. The walls of the room are very dark gray in color and sparsely decorated with elongated lines that symbolize architectural features. The frescos have a highly polished finish, presumably to glitter magically by candlelight. Evertz’s paintings consist of up to twelve gray tones that, when combined with slim lines of the spectrum, appear to “conjure an atmosphere that is at once sensual and profoundly mysterious.”
2013
Featured in article The Hard-Edge Sign by artist and writer Stephen Westfall, Art in America, April 2013 issue, pp. 94–99.
Participates in group exhibition Hauptsache Grau at the Mies van der Rohe Haus, Berlin, Germany, March 3–May 19. A catalogue accompanies the show with texts by Matthias Bleyl, Dr. Michael Fehr, and Wita Noack.
2014
Participates in group exhibition Color Refined at the Ewing Gallery of Art and Architecture, University of Tennessee, Knoxville, Tennessee, November 10–December 12. Participating artists also include Rachel Beach, Siri Berg, Beatrice Riese, and Rella Stuart-Hunt. A catalogue accompanies the show.
2015
Mounts her second solo exhibition, The Gray Question, at Minus Space, Brooklyn, New York, September 12–October 31. For the first time, she applies color in spontaneously conceived sequences, freeing it from the rigorous, repeating patterns that dominated her earlier work. Her new paintings are no longer predetermined, but rather, decisions are made in real time at the very moment of painting. Gray is the leading protagonist in her new body of work, which she employs in up to eight or more distinct values within a single painting. This continues a decade-long, systematic investigation of gray, which she feels has been historically overlooked in color painting: “Labeling gray as neutral is inadequate to describe its unique characteristics, we need to refresh our eyes to it.” A catalogue accompanies the show with texts by the artist and Matthew Deleget.
Exhibits in the survey show Geometric Obsession: American School 1965–2015 at the Museo de Arte Contemporáneo de Buenos Aires (MACBA), Buenos Aires, Argentina. A book accompanies the show with essays by Donald Kuspit, Robert C. Morgan, and Stephen Westfall.
Her painting Spectrum + RBG (2009, acrylic on canvas, 6 x 18 feet) enters the collection of the Museo de Arte Contemporáneo de Buenos Aires (MACBA.)
Begins experimenting with metallic pigments, stating “gold is neither a complementary color nor an adjacent one on the color circle, yet the sparkle and darkness adds a new dimension to the work.”
Participates in group exhibition Breaking Pattern alongside artists Anoka Faruqee, Gilbert Hsiao, Douglas Melini, and Michael Scott at Minus Space, Brooklyn, New York, February 28–April 18. Curated by Matthew Deleget and Rossana Martinez, the exhibition later travels to the Schneider Museum of Art, Southern Oregon University, Ashland, Oregon, September 30–December 5.
2016
Participates in The Onward of Art: American Abstract Artists’ 80th Anniversary Exhibition, curated by Karen Wilkin, 1285 Avenue of the Americas Art Gallery, and in Visible Histories, Abrons Art Center at the Henry Street Settlement, New York, New York.
Participates in group exhibition Painting Color, curated by artist Susan Bonfils, at the Glassell Gallery, Louisiana State University, Baton Rouge, LA, October 29, 2016–January 6, 2017. Participating artists also include Steven Alexander, Siri Berg, Jane Logemann, Robert Swain, Stephen Westfall, and Sanford Wurmfeld.
Begins a new investigation of luminosity, asking “how do I get light into the painting?” Closely examines the work of J.M.W. Turner and the effects of additive mixtures.
Relocates studio from Greenport, Long Island, New York, to Dumbo, Brooklyn. Traveling by bus through Brooklyn and past Walt Whitman Park in the mornings and evenings allows her to observe the seasons. Encounters with nature enter into her artwork. Continues to work more intuitively and makes compositional decisions while painting in real time, reacting in the moment to what is seen on the canvas.
2017
Mounts two-artist exhibition Polychromy with Sanford Wurmfeld at Minus Space, Brooklyn, New York, July 8–August 12, 2017.
Curates group exhibition Dual Current: Inseparable Elements in Art and Architecture, presented simultaneously at the Ewing Gallery of Art and Architecture and UT Downtown Gallery, Knoxville, Tennessee, August 31–October 10 and September 1–October 7. The exhibition travels to the Clara M. Eagle Gallery, Murray State University, Murray, Kentucky, January 16–February 26, 2018, and Sarah Moody Gallery, University of Alabama, Tuscaloosa, Alabama, April 5–May 18, 2018. Publishes her essay Dual Current in the exhibition catalogue.
Travels to Venice, Italy (again in 2018). Subsequent trip also includes a visit to the Scrovegni Chapel, Padua, Italy, to see Giotto’s fresco cycle.
Mounts solo exhibition Color Relativity at 499 Park Avenue, New York, New York, July 17, 2017–January 5, 2018. Catalogue essay by Matthew Deleget.
2018
Exhibits alongside Robert Swain and Sanford Wurmfeld in Radiant Energy, curated by Mary Birmingham, at the Visual Arts Center of New Jersey, Summit, New Jersey, February 2–May 13. A catalogue accompanies the show, with essays by Mary Birmingham, Matthew Deleget, and Melanie Cohn.
Participates in group exhibition Blurring Boundaries: The Women of AAA, 1936–Present, curated by Rebecca DiGiovanna, at the Clara M. Eagle Gallery, Murray State University, Murray, Kentucky, September 27–November 1. The exhibition travels for the next several years to venues including the Ewing Gallery, University of Tennessee, Knoxville, Tennessee, November 15–December 10; Warner Gallery, South Bend Museum of Art, South Bend, Indiana, October 17, 2020–January 3, 2021; the Baker Museum, Naples, Florida, March 25–July 25, 2021; and the California Center for the Arts, Escondido, California, December 3, 2022–February 26, 2023.
Creates the public artwork Eight Flags (2018, printed fabric, site-specific flag installation) in Radevormwald, Germany. Describes her installation as “a joyful project in the spirit of Sonia Delaunay and also of the Bauhaus artists who did not focus on just one medium.
Produces a suite of 34 paintings entitled Icarus to commemorate the victims of the Stoneman Douglas High School shooting that had taken place on February 14 in Parkland, Florida.
2019
Participates in group exhibition New York Centric, curated by artist James Little, at the Art Students League, New York, New York, March 5–May 14. Catalogue essay by Karen Wilkin. Participating artists also include Stanley Boxer, Dan Christensen, Ed Clark, Tom Evans, Charles Hinman, Stewart Hitch, Bill Hutson, Ronnie Landfield, James Little, Al Loving, James Austin Murray, Margaret Neill, Doug Ohlson, Larry Poons, Peter Reginato, Robert Swain, Alma Thomas, Thornton Willis, and Mark Zimmermann.
Exhibits in group show Harmonies in Color at the Louisiana Art & Science Museum, Baton Rouge, Louisiana, August 24, 2019–March 8, 2020. Participating artists also include Irene Mamiye, Pard Morrison, Jen Pack, Robert Swain, and Sanford Wurmfeld.
2020
Mounts her third solo exhibition, Exaltation, at Minus Space, Brooklyn, New York, January 11–February 29. She presents new large-format abstract paintings that deepen and extend her color research and experimentation. She foregrounds “the intense, pure colors of the sun spectrum as seen against a changing field of variously increasing or decreasing light” and presents these color constructs in fluctuating combinations of vertical bands and diagonal lines that together form energetic zigzags.
Critic James Kalm produces the video Gabriele Evertz: Exaltation at Minus Space for James Kalm Rough Cuts, his YouTube channel.
The COVID-19 pandemic shuts down New York City in mid-March. Lockdown and quarantine continue for six months. She begins to conceive new paintings that reflect upon the notions of restriction, adversity, distress, and sorrow.
2022
Participates in group exhibition Harmony and Contrast: Chromatic Painting at the Turn of the Century at Transmitter, Brooklyn, New York, May 14–June 19. Participating artists also include Siri Berg, Daniel G. Hill, and Vincent Longo. Exhibition essay by artist Jacob Cartwright.
Christian Nguyen publishes video In the Studio with Gabriele Evertz for the American Abstract Artists group in August.
Participates in group exhibition Moving Perspective at EST Art Foundation, Leiden, Netherlands, September 3–October 8. The exhibition presents optical and perception works by international artists including Linda Arts, Edgar Diehl, Iemke Van Dijk, Gilbert Hsiao, Mark van Overeem, Tonneke Sengers, and Velowa.
Mounts her fourth solo exhibition, Path, at Minus Space in Brooklyn, New York, September 10–November 19. She presents new paintings produced during the COVID-19 pandemic and subsequent quarantine. The works expand her traditionally vibrant palette of prismatic colors to include low-intensity earth tones for the first time, which, according to the artist, “release a quiet light, bringing with it a sense of tranquility that is reminiscent of a world softened by shadows.” A catalogue, with essays by John Yau and Leslie Roberts, accompanies the exhibition.