Hal Bromm
90 West Broadway, 2nd floor
New York, NY, 10007
+1 212-732-6196
Summer Gallery Hours:
Tue–Fri 12–5
or anytime by appointment
(Regular Hours Resume
Join our mailing list
Hal Bromm
90 West Broadway, 2nd floor
New York, NY, 10007
+1 212-732-6196
Summer Gallery Hours:
Tue–Fri 12–5
or anytime by appointment
(Regular Hours Resume
Join our mailing list
Roger Cutforth
b. 1944
Much of Cutforth’s work is centered on capturing and conveying information, subject, time, and place using a calculated sense of framing as well as color. His practice recontextualizes reality, forcing viewers to reassess the presented information. On Cutforth, photographer and collaborator Ian Burn stated, “Though a prominent aspect of the work seems to be the photographs, it cannot in any way be classified in normal terms of ‘Photography’; the use of the camera is not to ‘make’ something but rather as a process for obtaining a type of information.”
Travelling to New York City in 1968, Cutforth produced his first conceptual works, including ABC of Painting. His first exhibition in the United States, titled Language III, was featured at Dwan Gallery. He contributed to the exchange of early conceptualist ideas internationally; when teaching at Brighton Polytechnic, he organized a series of “Information” displays featuring the works of Dan Graham, Robert Rooney, Mel Bochner, and Robert Smithson, exposing students to emerging conceptual art. In 1969, Cutforth coordinated an exhibition at the Pinacotheca Gallery in Melbourne, Australia, titled Burn Cutforth Ramsden alongside Ian Burn and Mel Ramsden—together, they founded the Society for Theoretical Art and Analyses and Art Press. Challenging modernist norms, the exhibition became widely acknowledged as the first conceptual art exhibition in Australia. In 2013, the seminal conceptual art exhibition was reconstructed at the University of Sydney to investigate its influence on the next generation of Australian artists.
His piece Noon time-piece (April) was selected to be shown in Burn Cutforth Ramsden. Alongside a calendar of April 1969, thirty color photographs of the sky taken at noon on each day of the month are displayed in a single row. Next to the photographs is text containing the geographic coordinates of the location. Describing Noon time-piece (April) as “various conditions which amount to correspondence within its particular system and which affect it as a whole”, Cutforth places equal value on both time and place.
Other notable features include MoMA’s Information (1970), London’s Lisson Gallery (1971), New York’s John Gibson Gallery (1974), MoMA’s Bookworks (1977), a solo show alongside Alice Adams at Hal Bromm Gallery (1981), the “Vision In Disbelief,” the 4th Sydney Biennale (1982) MoMA PS1’s The New Portrait (1984), and Hal Bromm Gallery’s Portraits (1986). Cutforth’s work is in the permanent collections of public institutions including The Metropolitan Museum of Art; San Antonio Museum of Art; National Gallery of Victoria; Wallraf-Richartz Museum; Museum Abteiberg; and Museum Ludwig.
Exhibition History:
Roger Cutforth
Roger Cutforth: Portraits
Photography: 20th Anniversary
Faces II
1981
1983
1986
1997
2022
1983
1986
1997
2022
Press:
Office Magazine
The Sydney Morning Herald
The New York Times