Beginning in the mid-1960s, Rudin expanded the realm of Concrete Art, incorporating elements of Minimal Art through the use of serial objects composed of industrial assemblages. This is demonstrated in the recent works featured in this exhibition, such as Winkelobjekt no. 3a (Angle Object no. 3a, 2011) and Aluminiumobjekt no. 20 (Aluminium Object no. 20, 2000) and Aluminiumobjekt no. 11 (Aluminium Object no. 11, 1981/2010). The spatial projections of her picture and frame works – Bildobjekt no. 542 (Picture Object no. 542, 1984/2000) and Bildobjekt no. 447 (Picture Object no. 447, 1993) – have often elicited comparisons to the works of American artists such as Ellsworth Kelly, Frank Stella, and other representatives of Hard Edge and Colour Field Painting. While these comparisons hold validity, the element of viewer participation in Rudin’s work elevates it beyond mere categorization in the annals of art history, making it accessible and relevant to a wider audience. “Participation,” a concept often reduced to a trite phrase, takes on new meaning in Rudin’s pieces as they only reveal their full potential through the ever-shifting perspectives of the viewer. For those who have fully immersed themselves in the open, evocative space of this retrospective, Rudin’s enduring modernity will surely strike a chord.
www.ftn-books.com has the Bottrop exhibition poster now available.
