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Charles Biederman
Art in America, March, 2005 by Stephanie Cash, David Ebony
Charles Biederman, 98, abstract artist, died Dec. 26 in Red Wing, Minn. Born in Cleveland, he attended the Art Institute of Chicago and, in 1934, moved to New York. In the early 1930s, he made semi-representational canvases inspired by Cubism, Futurism and de Stijl, but by the mid-'30s had begun creating painted-wood reliefs with vertical and horizontal elements. In 1936, he moved to Paris but returned after nine months because he felt that only in America was it possible to make a new art unburdened by Europe's cultural history. He had his first solo show in New York that year at Pierre Matisse Gallery. By 1950, he was creating the works for which he became best known, painted-aluminum constructions with brightly colored, seemingly weightless, geometric forms projecting from rich monochromatic surfaces. For the rest of his career, he remained dedicated to creating an art that was nonrepresentational yet based on nature. Retrospectives were held at the Walker Art Center in Minneapolis (1965), the Hayward Gallery in London (1969), the Minneapolis Institute of Arts (1974), the Frederick R. Weisman Art Museum in Minneapolis (1999) and the McNay Art Museum in San Antonio (2003).
Among Biederman's self-published books are the ambitious Art as the Evolution of Visual Knowledge (1948), which used a perceptual, rather than stylistic, approach to art history, and The New Cezanne (1958), which explored the French artist's commitment to depicting nature as actually perceived. For many years, Biederman corresponded with physicist David Bohm, eventually publishing Bohn-Biederman Correspondence: Creativity and Science (Routledge) in 1999.
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