The exhibition takes its name from a painting within Hinman’s 2010 Eclipse series and reflects works from his oeuvre with concealed color hues emanating behind canvases of white and black. Charles Hinman: Chromatic Eclipse will include 20 paintings from the 1960s until the 2010s. The exhibition is concurrent with a retrospective of his work at The Kreeger Museum in Washington D.C. on view until July 31.
Charles Hinman’s career spans five decades, stemming from his debut at the famed Sidney Janis Gallery in the early 1960s and his inclusion in the breakthrough show “Shape and Structure: 1965” at Tibor de Nagy Gallery. James Meyer, noted art historian and specialist in Minimalism, wrote “Submitting simple geometries to optical dynamics, the isometric illusionism of [Frank] Stella, Larry Belly, Charles Hinman, Neil Williams, Will Insley, Ronald Davis, and the Park Place artists Dean Fleming, Tamara Melcher, and Edwin Ruda was ‘the structural answer to Op Art,’ according to [Lucy] Lippard, which is to say that it secured the dynamic illusionistic effects of op through stark color contrasts and pared down geometries.” (Minimalism: Art and Polemics in the 1960s, 2004).
In some of the works in the exhibition, like Meeting Point (1969), the dichromatic, geometric structure of the canvas opened the door for Hinman to explore hue, light, and form in direct opposition to the patterned effect of Op art. In another, such as Fair Harbour (1989), Hinman introduces shadow into his three-dimensional work, shifting the perception of color across structured curvatures. And in his last bodies of work, like Analogous Eclipse (2010), the dimensionality of the canvas folded into the wall, reflecting auras of color at changing intensities.