Peter Halley, one of the leading figures in contemporary American art, presents his first solo exhibition in Istanbul. This exhibition, named after the artist, features 15 new works created this year specifically for the exhibition in his New York studio. Halley, whose works are included in the collections of some of the world’s most important museums, including the Museum of Modern Art in New York, the Tate Modern Museum in London, and the National Gallery Bahnhof Museum in Berlin, is known for playing a pivotal role in the revival of abstract painting in the 1980s.
We spoke with the artist about his works, his exhibition in Istanbul, and what he is currently working on.
I studied urban planning in college, and in our first workshop class, the instructor showed us a piece by Mondrian and asked what it was. I think your works would be perfect for that first lesson, as there are many references to architecture and urban planning in your works. What would you like to say about this?
My work has always revolved around the idea of living in connected, yet isolated boxes. These boxes are linked by predetermined paths, and we have no control over these paths. We spend most of our time in cars, suburban homes, and in front of computer screens. We look at our Phones. We are connected through highways, the internet, and social media. All these paths are provided to us by corporations and governments. Our freedom of movement is, in fact, an illusion.
I read about the relationship between your geometric paintings and New York’s grid city plan, and I couldn’t help but wonder: if you had grown up in a place with a more organic and irregular city plan, would you still have made the same works? For example, in an old medieval city or in the slums known as “favelas” in Brazil…
Medieval cities and slum areas are not planned structures. They are the result of thousands of individual decisions, not external planning.
Now, let’s talk about colors… How do you define the role of colors in your works, and how do you decide on the color of a piece?
I want to create the characteristic light of the digital age, for example, the light of an LED screen. Therefore, I use fluorescent Day-Glo paints that are much brighter than traditional art paints. I am not really concerned with capturing natural light. After all, we live in a world entirely intertwined with technology, not with nature.
As someone living in New York, what does the concept of a “New Yorker” mean to you?
New York means different things to different people. Many creative people come to New York to follow their vision. But I was born in New York, so it’s a bit different for me. As New York becomes more and more expensive, it is increasingly difficult for creative people to succeed here. Still, it remains a place where diverse and inspiring people come together.
I’d like to talk about your first exhibition in Istanbul. Have you been to Istanbul before?
Yes, I came here around 1998. At that time, I was working with Yahşi Baraz, who invited me. I saw the old city and got a little acquainted with Turkish history and culture.
How did you come together with Sevil Dolmacı Gallery, and what would you like to say about this exhibition?
I looked at my calendar and realized that Sevil Dolmacı had been visiting my studio for at least five years. She was a private gallery owner at the time, and would visit me at least once a year. Her long-term interest in my work really impressed me. I don’t think many gallery owners approach an artist’s work with such consistent enthusiasm. Then, a few years ago, when she came, she showed me photos of her new gallery space, which was in a 20th-century building. The space was so beautiful that I immediately wanted to have an exhibition there, and now, finally, that wish has come true.
I’m curious about the story behind INDEX magazine; how did this magazine, which you founded drawing inspiration from Andy Warhol’s Interview magazine, come about? And what would you like to say about your experience in publishing? Why did you end the magazine in 2005?
I started the magazine in 1996 during a rather pessimistic period in the New York art world. I wanted to do interesting interviews not only with artists but also with people from the worlds of film, fashion, writers, and musicians. We focused on people whom other magazines did not want to interview, giving them the opportunity to express what they wanted to say. It was an exciting and intense period for me; it was fascinating to constantly be in touch with new creative people. I also love working with photographers. I ended the magazine ten years later, after becoming the director of the graduate painting program at Yale School of Art. Juggling three jobs as a publisher, professor, and artist became too much for me.
I’m curious about your daily routine. How do you spend a day?
I spend a few days each week at my home in Connecticut, quietly working on drafts of my paintings. When I’m in New York, I wake up quite early, work at home, then go to the studio with my team. Finding a balance between the solitary time required to develop new works and the physical work of painting is important.
What are you currently reading?
I am reading Theodoric The Great, a book about Italy’s first Gothic ruler. I’m very interested in Early Medieval history. In the fifth century, there were both Roman senators and Christian bishops. Both existed simultaneously, which is a historical situation that surprised me and piqued my interest.
What are you currently working on in your studio? Will we see another exhibition of yours this year?
I will have an exhibition in October at the Thyssen-Bornemisza Museum in Madrid. About twenty of my paintings will be exhibited, all from Spanish collections. I am proud that my work has an international reputation. It is recognized in many countries in Europe and Asia.
Finally, what advice would you give to young art students?
I always tell them: The art world in ten or twenty years will be very different from what it is now. People will make different kinds of art, and important artists and curators will emerge from their own generations. So, I tell them to support their peers and forget about what is happening right now.
You can visit the Peter Halley exhibition at Sevil Dolmacı Istanbul Villa İpranosyan until October 26, Monday to Friday from 10:00 AM to 6:00 PM (except Sundays), and on Saturdays from 11:00 AM to 6:00 PM.