![Mathias Goeritz, Mensaje, After 1959](https://artlogic-res.cloudinary.com/w_1600,h_1600,c_limit,f_auto,fl_lossy,q_auto/artlogicstorage/ruizhealyart/images/view/16f4be7c2583973676afcdc73c4564faj/ruiz-healyart-mathias-goeritz-mensaje-after-1959.jpg)
![Mathias Goeritz, Mensaje, After 1959](https://artlogic-res.cloudinary.com/w_1600,h_1600,c_limit,f_auto,fl_lossy,q_auto/artlogicstorage/ruizhealyart/images/view/733fb90e4eaa6c90f624c4288a34a851j/ruiz-healyart-mathias-goeritz-mensaje-after-1959.jpg)
![Mathias Goeritz, Mensaje, After 1959](https://artlogic-res.cloudinary.com/w_1600,h_1600,c_limit,f_auto,fl_lossy,q_auto/artlogicstorage/ruizhealyart/images/view/83510b14f9f03e10781013f9e2303017j/ruiz-healyart-mathias-goeritz-mensaje-after-1959.jpg)
Mathias Goeritz
Mensaje, After 1959
Gilded and pierced sheet metal on wood
18.5 x 18.5 in
47 x 47 cm
23.6 x 23.6 x 4 in framed
47 x 47 cm
23.6 x 23.6 x 4 in framed
Further images
Using gilded metal, Mathias Goeritz endows cryptic Minimalist geometric shapes with spiritual meaning in works like Mensaje forging geometry to a signification. By imbuing modern monochrome painting with the spirituality...
Using gilded metal, Mathias Goeritz endows cryptic Minimalist geometric shapes with spiritual meaning in works like Mensaje forging geometry to a signification.
By imbuing modern monochrome painting with the spirituality usually ascribed to gold in so many religions, Mathias Goeritz (1915-1990) prophesied the "forcing to mean, to say" pointed out decades later by James Meyer, thus endowing with cultural density the reality of specific objects later intuited by Donald Judd (1928-94), who observed in 1965 the dissemination of boundaries between painting and sculpture; a position that allowed Goeritz to generate a visionary "proto-post-minimalism", even predicting Eva Hesse.
By imbuing modern monochrome painting with the spirituality usually ascribed to gold in so many religions, Mathias Goeritz (1915-1990) prophesied the "forcing to mean, to say" pointed out decades later by James Meyer, thus endowing with cultural density the reality of specific objects later intuited by Donald Judd (1928-94), who observed in 1965 the dissemination of boundaries between painting and sculpture; a position that allowed Goeritz to generate a visionary "proto-post-minimalism", even predicting Eva Hesse.
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