83

Norman Zammitt

1931-2007

"Variation on R-B," 1977

Acrylic on canvasboard
Signed and dated in blue ink, verso: Norman Zammitt / 1977; titled and inscribed "1977-78 / 1/3" in ink, also on the verso
6" H x 9" W

  • Provenance:
    The artist
    Private Collection, California, acquired from the above

    Other notes:
    Pioneering light and space artist Norman Zammitt is celebrated for his innovative transparent op-art acrylic constructions from the 1960s and luminous explorations of color in his Band Paintings executed between 1974 and 1988.

    Zammitt's mother was a Mohawk from the Iroquois Nation, and his father was a native of Palermo, Sicily. Zammitt was born and lived in Toronto until he was aged 7 before the family moved a few times in his childhood, first to the Caughnawaga Reservation near Montreal, then to Montreal and Buffalo, New York, before settling in California's San Gabriel Valley in 1945.

    Zammitt was interested in art and animation from a young age, and during his time at El Monte and Rosemead High Schools, he created comic strips for the school newspapers. Art awards and accolades followed the artist to Pasadena City College where he began to pursue a focus in Commercial Art before his studies were interrupted in 1952 by enlistment in the Air Force during the Korean War. Zammitt spent a year in Korea working as an aerial reconnaissance photographer, and then was based in Colorado where he worked as a draftsman.

    After being discharged from the Air Force in 1956, Zammitt returned to Southern California and enrolled at Otis Art Institute (now Otis College of Art and Design) where he received a four-year scholarship to study fine art under luminaries including John Baldessari. He received an MFA in 1961. In his final year at Otis, Zammitt began exhibiting at the Felix Landau Gallery, one of the most prestigious galleries in Los Angeles at the time, and opened his first studio in Pasadena. His works from this early period were primarily abstract compositions executed in a variety of artistic mediums including oil, Liquitex, collage, crayon, pencil and etching.

    Zammitt's next significant series was a group of paintings executed between 1962 and 1964 that explored body parts as common objects presented encased in boxes, the artist's response to the assemblage art movement of the time.

    Plastic sculptures and painted constructions followed for the next decade as Zammitt worked to create transparent sculptures, influenced by New Mexico's light and space, by painting on glass and then acrylic sheets. These abstract explorations viewed through layers would morph and transition into three-dimension spectacles of color and form.

    Always innovatively pushing his mediums, by the late 1960s, Zammitt was actively working in lithography while also laminating thicker sheets of acrylic with embedded pigments to further enable the mixture of color with light and space. His pioneering techniques allowed for bubble-free laminations in a variety of shapes, thickness and sizes, including a series of laminated and polished acrylic poles of color that were as much as 10 feet high, executed in the 1970s.

    Beginning in 1974, Zammitt returned to the painted canvas. Unlike his early paintings executed in muted color palettes and compositions that focused on form and space, these new works were a continuation of his three-dimensional pursuit of expressing and exploring color and atmosphere. These new works were not intended to be representational or to imitate nature, but rather to present color 'in relation to' nature, in a natural sequence of spectrums of shades.

    Zammitt started first by mixing a focus color, and then added other colors to that "parent" color until a whole spectrum was formed. As he further explored this process, and with advice from mathematicians at CalTech, he incorporated mathematical calculations using logarithms and graphed progression curves that enabled him to assign numerical values to the pigments. From there he was able to take gram weights of the mixtures of pigments that allowed for the creation of precise variations of color in order to create a visually harmonious sequence.

    In a review of Zammitt's Band Paintings in a 1978 show at the Corcoran Gallery, a "Washington Star" critic wrote, "Despite their hard-edge appearance and quasi-logical structure, Norman Zammitt's paintings are magic...it takes only a few minutes in their presence to realize something extraordinary is going on. Zammitt has taken the idea of mixing color and light beyond the zones of opticality and abstraction and pushed it into the realm of the spirit" (Benjamin Forgey, "The Washington Star", "Norman Zammitt: A Master Painter, With Magic, Now At the Corcoran," February 18, 1978).

    Following the decade and a half focus on Band Paintings, Zammitt's work from the 1980s into the early 2000s went on to explore chaos theory, self-portrait and walk-in site-specific installations that the artist called "Elysium."
  • Condition: Visual: Overall good condition. Small areas of minor dust and residue adhered to the surface at each corner. An approximately pea-sized area of black pigment in the upper right corner, presumably in the hand of the artist.

    Blacklight: No evidence of restoration.

    Unframed


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February 25, 2025 12:00 PM PST
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