New Installation by Conceptual Artist Jill Magid to Debut at Dia Bridgehampton

Opening July 25, 2020

For Immediate Release
July 13, 2020

Bridgehampton, New York, July 13, 2020 – Dia presents a yearlong installation of new work by the Conceptual artist, writer, and filmmaker Jill Magid at Dia Bridgehampton in Bridgehampton, New York. Magid’s practice interrogates structures of power on an intimate level, exploring the emotional, philosophical, and legal tensions that exist between institutions and individual agency. For her exhibition at Dia Bridgehampton, Magid presents the series Homage CMYK (2019), consisting of eleven four-channel screen prints on linen hung to fit the gallery in an immersive installation. In dialogue with Dan Flavin’s permanent installation of fluorescent light works on the second floor of the building, the layered, luminous surfaces of Homage CMYK call into question authorship, influence, and how an object changes in relation to its context over time. The exhibition is scheduled to open on July 25, 2020 and will be on view through June 6, 2021.

“This new series of work by Jill Magid extends her years-long interrogation of Luis Barragán’s archive and surroundings. Her intimate understanding and reinterpretation of this imagery is both revealing and poetic,” said Jessica Morgan, Dia’s Nathalie de Gunzburg Director, “Originally slated to open in June, I am thrilled that we can now open this exhibition later in the summer with enhanced safety procedures in place to ensure the wellbeing of our staff and visitors.”

This series takes as its departure point two unlicensed screen prints on linen derived from Josef Albers’s iconic series  Homage to the Square (1950–75). The copies hang in Mexican architect Luis Barragán’s library and living room at his preserved Mexico City home, famed for the interplay of light and shadows on the house’s geometric, brightly colored walls. Already substantially different from the original oil paintings that they purport to be, published photographic reproductions of the Homages in this domestic setting magnify the changing effects of natural and artificial light on the surfaces of the counterfeits. To make Homage CMYK, Magid scanned the photographic reproductions, cropped the skewed works, and manipulated them back into their intended square format, finally printing them again in their original size and support—now layered with multiple reproduction processes, including commercial printing, photography, book publication, and Photoshop.

Color is the most relative medium in art, Albers famously observed. Our perception of hue changes according to environmental light conditions and is affected by the afterimage of its neighboring color. The experimental study of color relationships fueled the permutations of Albers’s Homage to the Square series—a defining influence on Dan Flavin, Robert Irwin, Donald Judd, and many other artists in Dia’s collection and beyond. Homage CMYK extends this conversation by questioning the relational nature of originality.

“The surfaces of Homage CMYK layer several authors and temporalities over a single image,” said Matilde Guidelli Guidi, exhibition curator, “The ethics of sharing ownership over an image, revealed by the relationship between Albers and Barragán, opens up a space for Magid to insert herself and weave an interrogation of intellectual property rights into these beautifully textured works.”

Dia’s permanent installation of nine works in fluorescent light created by Dan Flavin between 1963 and 1981 will be concurrently on view on the second floor of Dia Bridgehampton. 

Dia Bridgehampton is scheduled to be open Saturday to Sunday and has implemented enhanced cleaning protocols and visitor procedures due to COVID-19. Face coverings are required for staff and visitors and capacity & inside the building is limited to eight people at a time. Visitors are asked to refrain from entering if over the last fourteen days they have had symptoms or tested positive with COVID-19, have been in close contact with someone diagnosed with COVID-19, or have visited a high infection area. Visit our website for full details.

Dia Bridgehampton is always free.

About Jill Magid
Jill Magid was born in Bridgeport, Connecticut, in 1973. She is an artist, writer, and filmmaker. Solo presentations of her work have been held at, among others, the Berkeley Art Museum; Museo Universitario de Arte Contemporáneo in Mexico City; San Francisco Art Institute; Security and Intelligence Agency of the Netherlands; Tate Modern in London; and the Whitney Museum of American Art in New York City. She has participated in Manifesta as well as the Bucharest, Gothenburg, Incheon, Liverpool, Oslo, Performa, Singapore, and Ural Biennials. She is the author of four novellas and her documentary, The Proposal, premiered at the 2018 Tribeca Film Festival. Magid is an associate faculty member in the Art, Design, and the Public Domain program at the Graduate School of Design, Harvard University, in Cambridge, Massachusetts, and an adjunct teacher at Cooper Union in New York. In December 2019, Magid delivered a performative lecture on Belgian filmmaker and writer, Chantal Akerman as part of Dia Art Foundation’s Artists on Artists lecture series. Magid lives in Brooklyn and Amagansett, New York. 

About Dia Bridgehampton
Established by Dia Art Foundation in 1983, Dia Bridgehampton is a renovated firehouse in Bridgehampton, New York, which holds a permanent installation of nine works in fluorescent light by Flavin, the Dan Flavin Art Institute, and a gallery for yearly exhibitions of artists living or working on Long Island. Planned by the artist for the second-floor gallery of the space, the permanent installation traces Flavin’s practice from 1963, when he began working solely with fluorescent fixtures and tubes, to 1981, just before the presentation was realized. In creating this installation, Flavin conceived of the architecture and sculptures as a single, unified ensemble. By manipulating the formal, phenomenal, and referential characteristics of light, the installation asks viewers to consider a series of contrasts—between colors and intensities of light, structure and formlessness, the obvious and the mysterious, and the serious and the humorous.

Dia Bridgehampton is located at 23 Corwith Avenue in Bridgehampton, New York.

Dia Art Foundation
Taking its name from the Greek word meaning “through,” Dia was established in 1974 with the mission to serve as a conduit for artists to realize ambitious new projects, unmediated by overt interpretation and uncurbed by the limitations of more traditional museums and galleries. Dia’s programming fosters contemplative and sustained consideration of a single artist’s body of work and its collection is distinguished by the deep and longstanding relationships that the nonprofit has cultivated with artists whose work came to prominence particularly in the 1960s and 1970s.

In addition to Dia Beacon, Dia Bridgehampton, and Dia Chelsea, Dia maintains and operates a constellation of commissions, long-term installations, and site-specific projects, notably focused on Land art, nationally and internationally. These include: 

• Walter De Maria’s The New York Earth Room (1977) and The Broken Kilometer (1979), Max Neuhaus’s Times Square (1977), and Joseph Beuys’s 7000 Eichen (7000 Oaks, which was inaugurated in 1982 and ongoing), all of which are located in New York City 

• De Maria’s The Lightning Field (1977) in western New Mexico 

• Robert Smithson’s Spiral Jetty (1970) in the Great Salt Lake, Utah 

• Nancy Holt’s Sun Tunnels (1973–76) in the Great Basin Desert, Utah 

• De Maria’s The Vertical Earth Kilometer (1977) in Kassel, Germany 

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For additional information or materials, contact: 
Hannah Gompertz, Dia Art Foundation, hgompertz@diaart.org, +1 212 293 5598
Sam Talbot, sam@sam-talbot.com, +44 (0) 772 5184 630 

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