It is the artist who decides how much importance he wishes to assign to an exhibition, and especially to his current exhibition.
For Joseph Egan, every exhibition is a significant occurrence. And therefore the preparation and the installation, or more precisely the composition of the exhibition is its own creative process. The exhibition proves to be an opportunity to make more and other things visible than what becomes readily apparent when contemplating the individual work. Call it context or continuity – in any case the exhibition conveys an experience to the viewer that is henceforth enduringly associated with each work.
Of course, the completeness of the individual work should neither be devalued nor called into question, for Joseph Egan does not work in series that bind the individual work into a whole and contribute to an understanding of the individual work. He is equally uninterested in the development of a style that suggests a unity. Rather the exhibition creates dialogs and connections of an aesthetic and spatial nature and it is an important characteristic of our stream of perception that all objects, including those from everyday life, are integrated in a greater sphere, serving to outfit and enrich our imagination.
Joseph Egan likes giving names to individual works and groups of works. For many years, these important manifestations have been further accompanied by exhibition titles. The evocative word creations or word constellations can be understood in a sense as an approximation, as an insinuation of meaning that gets variously embodied in the sensually tangible object. It is without question that verbal images evoke an atmosphere occupying a coherently formed place in the memory of what has been seen:
A Place to Paint Further – Wander Way – Some Sing – Paint to Colour – Rain on the roof – Voices – across the board – Colorcomb and now Local Color.
The fine linguistic combinations can be compared to a melodious book title, the title of a volume of stories, or better still of poems. In any case, it is often the case that the things the poet undertakes and brings about with language are accomplished by the painter with his own means. For Joseph Egan, color is the source of inspiration and associations, and it contains a strong connection to visible reality. Using color as a raw material achieves a linking of ideas and projects, becoming exemplified in the pictorial objects. In the works on paper and the canvasses, the application of color transforms the picture support into a deep and dense surface.
Color can be understood on one hand as an idea, as a precise definition of hues and color values. This would be a conceptual separation and isolation, as it were, far from the everyday presence of color in the world around us. Yet the latter, this everyday presence, the everyday use of color is precisely what concerns Joseph Egan.
Herein lies the key to ‘Local Color’, the exhibition of Joseph Egan that is presented with this gallery note. Moods, places, images are a stimulus and motivation for his creative energy.
‘What makes an object beautiful is the fact that these relations are themselves related in turn, giving them a greater density.’ This formulation by Claude Lévi-Strauss provides a fitting conclusion to our remarks.

Installation view room 4

Installation view office room

Installation view office room

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Installation view office room

Installation view office room

Installation view office room

Installation view room 1

Installation view room 1

Installation view room 1

Installation view

Installation view room 2

Installation view room 2

Installation view

Installation view room 2

Installation view room 3

Installation view

Installation view

Installation view room 3

Installation view

Installation view room 3

Installation view room 4

Installation view room 4

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Installation view room 4

Installation view

out of the blue
2016
35 x 28 x 2.5 cm
oil paint on canvasboard with framing

Bouquet (Nr.1)
2014
48.5 x 39 x 3 cm
paper: 30 x 21 cm
oil paints on paper with framing

inner space Nr. 1
2017
35 x 29 x 2.5 cm
oil paint on paper with framing

inner space Nr. 3
2017
35 x 29 x 2.5 cm
oil paint on paper with framing

inner space Nr. 2
2017
35 x 29 x 2.5 cm
oil paint on paper with framing

Egyptian Quartet (in 4 parts)
2002
30 x 100 x 3 cm
various paints, sand and stones on wood

in wine (Nr. 4)
2013
30 x 21 cm
oil paint on paper

in wine (Nr. 6)
2013
30 x 21 cm
oil paint on paper

in wine (Nr. 5)
2013
30 x 21 cm
oil paint on paper

in wine (Nr. 8)
2013
30 x 21 cm
oil paint on paper

in wine (Nr. 7)
2013
30 x 21 cm
oil paint on paper

in wine (Nr. 10)
2013
30 x 21 cm
oil paint on paper

in wine (Nr. 11)
2013
30 x 21 cm
oil paint on paper

Local Color (on Hydra) Nr. 1
2014
48.5 x 38 x 3 cm
various paints on paper with framing

Local Color (on Hydra) Nr. 2
2014
48.5 x 38 x 3 cm
various paints on paper with framing

inner space (Nr.2)
2013
48.5 x 39 x 3 cm
paper: 30 x 21 cm
oil paints on paper with framing

all on board
2015
22 x 39.5 x 2.5 cm
oil paints on wood

Voices Nr. 10
2008
each: 37 x 6 x 1.5 cm
various paints and sand on wood (23 parts)

Voices Nr. 10
2008
each: 37 x 6 x 1.5 cm
various paints and sand on wood (23 parts)

Trio
2017
60 x 33 x 6.5 cm
painted wood and painted panel

heart to heart
2017
49 x 37.5 x 5 cm
painted wood and painted panel

Skylight
2017
60 x 30 x 5 cm
painted wood and painted panel

true blue
2012
50 x 28 x 6 cm
various paints on wood

echo
2017
30 x 20 x 3 cm
various paints, sand and stones on wood

paean
2017
39.5 x 23.5 x 2.5 cm
various paints on wood

painted place
2017
24 x 18 x 4 cm
various paints, sand and wood on canvasboard

Turn
2017
30 x 24 x 2 cm
various paints, sand and wood on canvas

open
2009
62.5 x 42.5 x 3 cm
various paints on canvas with framing

between
2009
62.5 x 42.5 x 3 cm
various paints on canvas with framing

overhead
2009
62.5 x 42.5 x 3 cm
various paints on canvas with framing

silencio
2012
37 x 22 x 5 cm
painted wood and painted panel

Rise and Shine
2017
90 x 80 x 2.5 cm
various paints on canvas

Dovecote
2014
38.5 x 31.5 x 3 cm
various paints on canvas with framing

Public and Private
2014
38.5 x 31.5 x 3 cm
various paints on canvas with framing

Old Ways
2014
38.5 x 31.5 x 3 cm
various paints on canvas with framing

Outlook
2017
90 x 80 x 2.5 cm
various paints on canvas

Guarda
2017
24 x 18 x 3 cm
various paints, sand and wood on canvas

Local Color
2017
24 x 18 x 3 cm
various paints, sand and wood on canvas

child
2017
30 x 24 x 4 cm
various paints, sand and wood on canvas

dust to dust
2017
30 x 24 x 3 cm
various paints, sand and cork on canvas

resonance
2017
24 x 18 x 3 cm
various paints, sand and wood on canvas

the bathers
2017
30 x 24 x 3 cm
various paints, sand and wood on canvas

Curtain
2017
24 x 18 x 2 cm
various paints, sand and wood on canvas

Local Color (Guarda)
2017
24 x 18 x 2.5 cm
various paints, sand and wood on canvas

Flag
2017
66 x 55 x 7 cm
painted wood and painted panel

Piraeus
2002
75 x 26 x 9 cm
various paints and sand on wood with two free elements

Local Color (on Hydra) Nr. 3
2014
45 x 35.5 x 2.5 cm
oil paint on paper with framing

Local Color (on Hydra) Nr. 4
2014
45 x 35.5 x 2.5 cm
oil paint on paper with framing

Local Color (on Hydra) Nr. 5
2014
45 x 35.5 x 2.5 cm
oil paint on paper with framing

Local Color (on Hydra) Nr. 6
2014
45 x 35.5 x 2.5 cm
oil paint on paper with framing

the traveling kind
2015
40 x 15 x 5 cm
painted wood and painted panel

flowerpoint
2012
40 x 37 x 5 cm
painted wood and painted panel

Bonnard’s Advice
2013
each: 100 x 4 x 3 cm
oil paint on wood (32 parts)

Bonnard’s Advice
2013
each: 100 x 4 x 3 cm
oil paint on wood (32 parts)

on Patmos (looking for Lax)
2017
30 x 20 x 4 cm
various paints and sand on wood

Light Collector
2017
40 x 23 x 8 cm
various paints on wood

steps
2013
56 x 1.5 x 3 cm
oil paint on wood

dovecote
2016
30 x 25 x 6 cm
various paints and sand on wood with free elements

Dovecote (habitat)
2009
32 x 27 x 5 cm
various paints on wood with free elements

out of the blue (Nr. 2)
2015
33 x 70 x 2.5 cm
oil paint on wood

earth and sky (Nr. 1)
2013
23 x 47 x 3 cm
oil paints on wood
CONTRASTES
October 9 to December 19, 2025
Richard Tuttle
Complete Interviews 1970–2022
Edited and with a Preface Interview by Dieter Schwarz
Glen Rubsamen
The Petrified Forest
Publisher: Glen Rubsamen
INSIGHT #3 spotlights the graphic work of Fred Sandback through three examples from 1974 and 1982.
Fred Sandback Cuts into Spaces (group show), Hall Art Foundation, Kunstmuseum Schloss Derneburg, ongoing
Giulio Paolini
A.R.S. Scaenica, permanent installation, Teatro Franco Parenti, Milan
Sol LeWitt (1928–2007)
A Wall Drawing Retrospective
Yale University Art Gallery and Williams College Museum of Art
November 16, 2008 – 2033