54.5 x 74.5 cm
Screenprint on paper
Collection Museum Haus Konstruktiv
Donated by the artist
Pantone 187C (Warm Red, 4 Rubine Red, 1 Black)
Annual members' gift, Stiftung für konstruktive und konkrete Kunst, 1995
The painter Marcia Hafif (born 1929 in Pomona, California, USA and died 2018) is an early representative of Fundamental, or Analytical Painting. In this movement, which emerged simultaneously in the US and Europe in the 1970s, artists strove to find a new approach to painting by concentrating on its concrete, fundamental conditions: color, the application of paint, and the picture support. In the 1980s, this style also become known as Radical Painting (based on the Latin word radices, which means "roots").
Marcia Hafif became one of the most important figures of this movement because of the exceptional quality of her works and the significant theoretical contribution she made to the discourse of painting. In 1972, she began what she still refers to as “The Inventory” in which she collects thoughts, conditions, and decisions regarding the act of painting. For Hafif, the act of painting can be broken down into different categories: materials (color and picture support), size (large, medium, small), format (portrait, landscape, square), tools (paintbrush), and structure, or signature style. Compared to the more restrictive representatives of Radical Paining, Hafif is interested in versatility. To date, she has devoted more than a dozen series to this theme, including “Glaze Paintings,” “Black Paintings,” “Shade Paintings,” and “Wall Paintings.”
Because Hafif does not work with graphic design, for her artist's edition for the Haus Konstruktiv, she chose to make a smaller reproduction of her “Wall Painting” shown in the exhibition “Marcia Hafif. From the Inventory” in 1995. Its title “Pantone 187C (Warm Red, 4 Rubine Red, 1 Black)” refers to the colors used, while its irregular form corresponds exactly to a wall in the building with the address Seefeldswstrasse 317, where the Haus Konstruktiv used to be housed.
Hafif’s artist’s edition thus not only documents a temporary artwork that was painted over after the exhibition; it also keeps the memory of the building where museum was first housed for many years alive.