Dia presents a yearlong exhibition 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 eleven screenprints from the series Homage CMYK (2019), whose shimmering surfaces interrogate questions of authorship, influence, and how an object changes in relation to its context over time.
Substantially different from the original oil paintings that they purport to be, unlicensed copies of Josef Albers’s iconic series Homage to the Square (1950–75) hang in Mexican architect Luis Barragán’s library and living room. Published 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 the series Homage CMYK, Magid scanned the reproductions, manipulated the skewed works back into their intended square format, and printed them again in their original size—now embedded with the delay of reproduction processes.
Color is the most relative medium in art, Albers famously observed. Our perception of local color 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. Magid’s Homage CMYK series extends this conversation by questioning the relational nature of originality.
Jill Magid was born in Bridgeport, Connecticut, in 1973. She lives and works in Brooklyn.