Keith Sonnier … “I want the work, when you look at it, to be recognizably mine, but to have this element in the work that allows your perception to move you on to this other dimension of vision.”Keith Sonnier, Playful Sculptor in Neon, Dies at 78Keith Sonnier in 2012 with “Kada” (2009), from his Oldowan series of wall works. Known for his sculptures that often entangled neon tubes with wires and other unusual materials, Sonnier became a key figure in the late 1960s artistic movement of postminimalism. January 23 - March 28, 20202015 - "Dis Play", Keith Sonnier - Castelli Gallery2019 - Ethereal / Ephemeral: Keith Sonnier in the Sixties, Castelli Gallery, NYCAcquired by The Jewish Museum (2020), a gift from The Barnett Newman Foundation His first major survey in the United States was in 2018, when the Parrish Museum, in Water Mill, on the East End of Long Island, organized His marriage to Ms. Winsor ended in divorce in 1980. He was one of the first artists to integrate light into his practice. He tweaked the solemnity of Post-Minimalism with a sense of poetry and fun, using functional everyday materials.Keith Sonnier, who infused functional materials like sailcloth, foam rubber, steel rebar and neon with a sense of poetry and play that tweaked the solemnity of Post-Minimal art in the late 1960s and made him one of the movement’s more unconventional standard bearers, died on July 18 in Southampton, N.Y. Keith Sonnier, Sculptor Who Used Neon Light to Push the Boundaries of Drawing, Is Dead at 78 July 20, 2020 12:00pm Keith Sonnier in 2018. ©Caterina Verde Keith Sonnier, who starting in … Gallery representatives did not specify the cause but said he had been ill for some time. The American artist Keither Sonnier has died at age 78 after a long illness. Keith Sonnier, Playful Sculptor in Neon, Dies at 78 He tweaked the solemnity of Post-Minimalism with a sense of poetry and fun, using functional everyday materials. (He absorbed it well enough himself to be able to use into adulthood. He is survived by a daughter, Olympia Sonnier, from his second marriage; and a brother, Barry.During his last three decades Mr. Sonnier devoted himself to large public works commissioned for Even when creating at that architectural scale, and having to satisfy the needs of municipalities and corporations, he strove for what he called a gossamer sense of “astral movement.”“When you’re in a productive state, the work begins to lose that element, that special quality — astral, soul, whatever we call it,” he told the historian Richard Shiff in 2016. A second marriage, to Nessia Pope, also ended in divorce, in 1998. He lived nearby in Bridgehampton.In both the manifold building blocks of his works and their titles — “Ba-O-Ba,” “Ju-Ju,” “I knew I could make these very eccentric, abstract boxes, and I wanted to connect them transparently, like Wonder Woman’s airplane,” Mr. Sonnier told Artforum magazine in a Almost immediately upon completing his first mature pieces, he was enlisted in a disparate group known as eccentric abstractionists, a term coined by the curator Lucy Lippard, whose landmark 1966 exhibition “Eccentric Abstraction,” at the Fischbach Gallery on West 57th Street in Manhattan, helped set the terms of Post-Minimalism.Breaking with the seriality and restraint of Minimalism, many of these younger artists embraced the cacophony and material surfeit of the world around them, much like a generation of counterparts in Italy, who were grouped under the label Arte Povera (“poor art”) for their unorthodox, sometimes humble, materials.“Incongruity, on which all humor is founded and on which Surrealism depends so heavily, is a prime factor in eccentric abstraction,” Before his first decade in the art world was out, Mr. Sonnier had been included in a dizzying number of exhibitions now considered watersheds: “9 at Castelli,” at the dealer Leo Castelli’s Upper Manhattan warehouse in 1968; “When Attitudes Become Form,” at the Bern Kunsthalle in Switzerland in 1969; “Anti-Illusion: Procedures/Materials,” at the Whitney Museum of American Art in New York that same year; and Documenta 5 in Kassel, Germany, in 1972.He began using neon tubes, a material that would become his calling card, in 1968, often deploying them in unabashed candied colors: baby blue, hot pink, lime green, tropical yellows and oranges. Keith Sonnier constructs his distinctive abstract and semi-figurative light installations out of neon tubing. November 23 2019 - January 10 2020"Ju-Ju", Keith Sonnier Videos - 1970 - 1978  DIA/Dan Flavin Art Institute, Bridgehampton, NY 20182018 - "Passage Azur" , site specific work, The Parrish Art Museum1970 - "Dis-Play II", & Videos from 1970 to 1978,  DIA/Dan Flavin Art Institute, Bridgehampton, NY 2018 - 2019"Rubdown", Keith Sonnier Videos - 1970 - 1978 - DIA/Dan Flavin Art Institute, Bridgehampton, NY 20182020 - Keith Sonnier: Files, Shields and Neons - Gallery Mitterand, Paris, France  January 23 - March 28, 20201970 - "Spotted Diptych", Keith Sonnier -  Garage Cosmos, Brussels, Belgium2014 - "Saule Pleurer",  Leg Show - The National Exemplar, NYC2020 - Files, Shields and Neons - Gallery Mitterand, Paris, France . Often labeled a Minimalist, Sonnier places bright colors and sparse lines together in ways that heighten the lights’ reflective qualities in a given space. But Mr. Sonnier was formally restless, and, particularly in the early years, his work could appear to come from completely different hands, involving collaborative performance, ephemeral sculpture, cutting-edge technology and communications theory.“As his art developed,” Roberta Smith of The New York Times James Keith Sonnier was born on July 31, 1941, in Mamou, La., a small town in the heart of the state’s Cajun country, where one of his grandmothers spoke primarily in Cajun dialect. He was 78. After a stint in Paris studying painting and life drawing, he earned a master’s degree in 1966 at Rutgers University, which had become a hotbed of art experimentation under teachers like Mr. Morris, Allan Kaprow and Robert Watts.Barely out of college, Mr. Sonnier attracted the attention of the influential dealer Mr. Sonnier married Ms. Winsor, in 1966 (they met at Rutgers), and the two settled in Manhattan, plunging into the downtown New York art world, particularly the overlapping scenes that coalesced around the art magazine Avalanche and Mr. Sonnier’s work with light intensified in 1969, when he began a series that he would continue until his death: abstract constructions of lines, circles and squares typically made from neon and clear glass. A major show of works by the artist Keith Sonnier, who died 18 July, is to be hosted by Dia Art Foundation at its Dia Beacon base in upstate New York.

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