ArtworksThumbnails
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SPENCER FINCH 
Bauhaus Light (Kandinsky’s Studio/ Klee’s Studio, afternoon effect)

2016
Fluorescent fixtures and filters
48 x 8 in.

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SPENCER FINCH 
Bauhaus Light (Kandinsky's Studio/ Klee's Studio, afternoon effect) Detail
2016
 

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SPENCER FINCH
Newton’s Theory of Color and Music (Goldberg Variations)
2016
LED tubes, fixtures, filters, and electrical cables
Dimensions variable
Installed at Steinway & Sons, New York

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SPENCER FINCH 
Thank You, Fog
2016
85 glass panels, aircraft cable, muted grey walls
Exhibition view at James Cohan Gallery, New York, 2016

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SPENCER FINCH 
Thank You, Fog Detail 
2016
 

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SPENCER FINCH
Yellowstone Hike
2016
340 ready-made Pantone chips, pencil
Dimensions variable 

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SPENCER FINCH 
Thank You, Fog Detail 
2016

 

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SPENCER FINCH 
Following a Bee
2016
pastel and pencil on paper
30 x 42 inches

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SPENCER FINCH
Nocturne #1
2015
Fujitrans and LED lightbox
49 1/2 x 67 in., 125.7 x 170.2 cm
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SPENCER FINCH
Light in an Empty Room (Studio Wall at Night)
2015

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SPENCER FINCH
Sunset (Central Park)
2015
solar powered ice cream truck.
Installation view, Drifting in Daylight, Central Park, 2015

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SPENCER FINCH
Sunset (Central Park)
2015
solar powered ice cream truck
Installation view, Drifting in Daylight, Central Park, 2015

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SPENCER FINCH 
A Certain Slant of Light: Spencer Finch at the Morgan 
June 20, 2014 - January 11, 2015 © The Morgan Library & Museum 
Photography by Graham S. Haber, 2014 
Artwork © Spencer Finch, 2014

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SPENCER FINCH 
A Certain Slant of Light: Spencer Finch at the Morgan 
June 20, 2014 - January 11, 2015 © The Morgan Library & Museum 
Photography by Graham S. Haber, 2014 
Artwork © Spencer Finch, 2014

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SPENCER FINCH 
A Certain Slant of Light: Spencer Finch at the Morgan 
June 20, 2014 - January 11, 2015 © The Morgan Library & Museum 
Photography by Graham S. Haber, 2014 
Artwork © Spencer Finch, 2014

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SPENCER FINCH
Trying to Remember the Color of the Sky on That September Morning
2014
Commission for National September 11 Memorial and Museum
Photo: Ofer Wolberger

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SPENCER FINCH 
Trying to Remember the Color of the Sky on That September Morning
2014
Commission for National September 11 Memorial and Museum
Photo: Ofer Wolberger

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SPENCER FINCH 
Trying to Remember the Color of the Sky on That September Morning 
2014
Commission for National September 11 Memorial and Museum
Photo: Ofer Wolberger

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SPENCER FINCH 
Trying to Remember the Color of the Sky on That September Morning
2014
Commission for National September 11 Memorial and Museum
Photo: Ofer Wolberger

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SPENCER FINCH 
Trying to Remember the Color of the Sky on That September Morning Detail
2014
Commission for National September 11 Memorial and Museum
Photo: Ofer Wolberger

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SPENCER FINCH 
Trying to Remember the Color of the Sky on That September Morning Detail
2014
Commission for National September 11 Memorial and Museum
Photo: Ofer Wolberger

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SPENCER FINCH
Cloud (cumulus fractus, Massachusetts, E.D.)
2014
Scotch tape on paper
19 3/4 x 25 1/2 in. (sheet), 21 5/8 x 27 1/2 in. (framed)

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SPENCER FINCH
Sun (over the Sahara Desert, 1/2/11)
2013
Powder-coated steel and fluorescent light
Diameter: 110 in.

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SPENCER FINCH
The Garden of Eden (All the Colors in my Paintbox)
2013
Watercolor on paper
50 3/4 x 68 in.

All the watercolors in the artist’s paintbox were applied horizontally and then vertically in alphabetical order. The colors formed where the lines overlap were then matched against colors from Maerz & Paul’s Dictionary of Color (1930) and their names were recorded in pencil on the drawing.

 

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SPENCER FINCH
The Garden of Eden ( All the Colors in my Paintbox) Detail 
2013
Watercolor on paper
50 3/4 x 68 in.

All the watercolors in the artist’s paintbox were applied horizontally and then vertically in alphabetical order. The colors formed where the lines overlap were then matched against colors from Maerz & Paul’s Dictionary of Color (1930) and their names were recorded in pencil on the drawing.

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SPENCER FINCH
Cloud (cumulus fractus, Brooklyn)
2014
Scotch tape on paper
19 3/4 x 25 1/2 in. (sheet) 21 5/8 x 27 1/2 in. (framed)

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SPENCER FINCH
Cloud (cumulus congestus, Spain)
2014
Scotch tape on paper
19 3/4 x 25 1/2 in. (sheet) 21 5/8 x 27 1/2 in. (framed)

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SPENCER FINCH
Following Nature
2013
Installation at the Indianapolis Museum of Art

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SPENCER FINCH
Following Nature
2013
Installation at the Indianapolis Museum of Art

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SPENCER FINCH
Following Nature
2013
Installation at the Indianapolis Museum of Art

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SPENCER FINCH 
Atlantic Ocean (Coney Island)
2014 LED lightbox with Fujitrans filter
37 x 46 x 5 in. (94 x 116.8 x 12.7 cm)

A light box from which the light emitted precisely matches the light at Coney Island, Brooklyn, on June 19th, 2013 from 12:02-12:08 PM.

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SPENCER FINCH
Color Test (360)
2014
LED lightbox, Fujitrans
30 x 30 x 4 1/2 in.

Color Test (360), 2013 consists of a light box confronting the viewer with an overwhelming abundance of colors. In a process comparable to the mixing of pigments on a painter’s palette, Finch filters the “neutral” white emanating from the light box with two layers of translucent film imprinted with an irregular checkerboard pattern in different hues. The result, a total of 360different individual color variations, calls into question the limitations of visual perception and differentiation. Indeed, it is unclear how many colors the human eye can discriminate. The Optical Society of America estimates between 7.5–10 million, while other scientists maintain that effectively no more than 180 hues can be distinguished.

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SPENCER FINCH
Winter Light, Paris - Dusk
2013
LED lightbox, Fujitrans
48 x 48 x 5 in.

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SPENCER FINCH
Walden Pond (surface/depth)
2013
Rope, cloth, twine, 298 watercolors on watercolor paper
120 feet long

Inspired by Henry David Thoreau's soundings of Walden Pond, the artist surveyed the pond over two days in a row-boat, recording location, depth and surface color at 298 different points.

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SPENCER FINCH
Walden Pond (surface/depth)
2013
Rope, cloth, twine, 298 watercolors on watercolor paper
120 feet long

Inspired by Henry David Thoreau's soundings of Walden Pond, the artist surveyed the pond over two days in a row-boat, recording location, depth and surface color at 298 different points.

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SPENCER FINCH
Shield of Achilles (Dawn, Troy, 10/27/02)
2013    
Florescent fixtures and filters
Dimensions variable, approximately 11' diameter

The Shield of Achilles, famously described in a passage of Homer's Iliad, was created by Hephaestus at the request of Thetis, mother of Achilles. The ornate shield is a physical depiction of the entire world and was used by Achilles in his battle with Hector at Troy.   The artist travelled to Troy in 2002 and measured the light at dawn. This special light is reproduced through filtered fluorescent lamps.
 

SPENCER FINCH
Painting Air
2012
Glass, hardware, wall painting
Dimensions variable
Installation at the Rhode Island School of Design Museum of Art, Providence, RI
Based on Claude Monet’s pond at Giverny.

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SPENCER FINCH
Shield of Achilles (Dawn, Troy, 10/27/02) Detail
2013    
Florescent fixtures and filters
Dimensions variable, approximately 11' diameter

The Shield of Achilles, famously described in a passage of Homer's Iliad, was created by Hephaestus at the request of Thetis, mother of Achilles. The ornate shield is a physical depiction of the entire world and was used by Achilles in his battle with Hector at Troy.   The artist travelled to Troy in 2002 and measured the light at dawn. This special light is reproduced through filtered fluorescent lamps.

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SPENCER FINCH
Painting Air
2012
Glass, hardware, wall painting
Dimensions variable
Installation at the Rhode Island School of Design Museum of Art, Providence, RI
Based on Claude Monet’s pond at Giverny.

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SPENCER FINCH
Painting Air
2012
Glass, hardware, wall painting
Dimensions variable
Installation at the Rhode Island School of Design Museum of Art, Providence, RI
Based on Claude Monet’s pond at Giverny.

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SPENCER FINCH
Painting Air
2012
Glass, hardware, wall painting
Dimensions variable
Installation at the Rhode Island School of Design Museum of Art, Providence, RI
Based on Claude Monet’s pond at Giverny.

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SPENCER FINCH
Paths Through the Studio
2012
Oil pastel on paper
21 drawings, each framed: 33 x 32 3/4 x 1 1/2 in.

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SPENCER FINCH
Rain on the Studio Window (2/29/12)
2012
Optically clear photograph
44 1/2 x 35 3/4 in.

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SPENCER FINCH
John Hopkins Hospital
2011
Colored panes of glass
Dimensions variable

This is a facade design project for the Johns Hopkins Medical Center in Baltimore. The design is based on studies of reflection and absorption of natural colors in water. The final composition is abstract but references both the pigment selection and the play between surface and depth of a Monet water lily painting of a reflection of a wisteria tree. The final work consists of 26 different colors and 25,000 square meters of the exterior of the building.

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SPENCER FINCH
John Hopkins Hospital
2011
Colored panes of glass
Dimensions variable

This is a facade design project for the Johns Hopkins Medical Center in Baltimore. The design is based on studies of reflection and absorption of natural colors in water. The final composition is abstract but references both the pigment selection and the play between surface and depth of a Monet water lily painting of a reflection of a wisteria tree. The final work consists of 26 different colors and 25,000 square meters of the exterior of the building.

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SPENCER FINCH
Lunar
2011
Two solar panels with charger, light-emitting diodes, and lamp fixture, lead, aluminum, stainless steel, and polycarbonate
11' 4" x 16' 8" x 11' 6"

Created for the Art Institute of Chicago, this sculpture harnesses the power of the sun, gathering energy during the day and releasing that energy as moonlight after dark. The exact temperature of the light emitted from this work is based on measurements taken during the July 2011 full moon in Chicago.

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SPENCER FINCH
49 Years Ago (Starlight)
2011
Fluorescent lamps, fixtures, filters, aluminum
Diameter: 9 feet

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SPENCER FINCH
49 Years Ago (Starlight) Detail
2011
Fluorescent lamps, fixtures, filters, aluminum
Diameter: 9 feet

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SPENCER FINCH
Between the Moon and the Sea
2010
Water, wood, balloon light
Dimensions variable

This work creates an environment for viewing the reflection of an artificial moon.

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SPENCER FINCH
Between the Moon and the Sea
2010
Water, wood, balloon light
Dimensions variable

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SPENCER FINCH
Passing Cloud (394 L Street NW, Washington, DC, July 20, 2010)
2010
Light fixtures, filters, monofilament, and clothespins
Dimensions variable

This work precisely re-creates the light of a passing cloud at the street corner in Washington D.C. where Walt Whitman and Abraham Lincoln passed each other regularly during the summer of 1863. Installation at the Corcoran Gallery of Art, Washington, D.C.

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SPENCER FINCH
Passing Cloud (394 L Street NW, Washington, DC, July 20, 2010)
2010
Light fixtures, filters, monofilament, and clothespins
Dimensions variable

This work precisely re-creates the light of a passing cloud at the street corner in Washington D.C. where Walt Whitman and Abraham Lincoln passed each other regularly during the summer of 1863. Installation at the Corcoran Gallery of Art, Washington, D.C.

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SPENCER FINCH
The River That Flows Both Ways
2009
700 colored panes of glass
120 x 12 feet
The High Line, New York, NY

This project transforms an existing series of windows with 700 individual panes of glass representing the water conditions on the Hudson River over a period of 700 minutes in a single day.

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SPENCER FINCH
The River That Flows Both Ways
2009
700 colored panes of glass
120 x 12 feet
The High Line, New York, NY

This project transforms an existing series of windows with 700 individual panes of glass representing the water conditions on the Hudson River over a period of 700 minutes in a single day.

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SPENCER FINCH
Moon Dust (Apollo 17)
2009
150 light fixtures and 417 incandescent bulbs
Dimensions variable
The hanging light piece represents precisely the chemical composition of moon dust, that was analyzed on the Apollo 17 mission in 1972.

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SPENCER FINCH
Moon Dust (Apollo 17)
2009
150 light fixtures and 417 incandescent bulbs
Dimensions variable

The hanging light piece represents precisely the chemical composition of moon dust, that was analyzed on the Apollo 17 mission in 1972.

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SPENCER FINCH
Sunset (St. Louis, July 31, 2008)
2008
Solar powered panels, soft serve ice cream machine, ice cream cones, ice cream
Dimensions variable

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SPENCER FINCH
Sunset (St. Louis, July 31, 2008)
2008
Solar powered panels, soft serve ice cream machine, ice cream cones, ice cream
Dimensions variable

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SPENCER FINCH
Sunset (St. Louis, July 31, 2008)
2008
Solar powered panels, soft serve ice cream machine, ice cream cones, ice cream
Dimensions variable

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SPENCER FINCH
Sunset (St. Louis, July 31, 2008)
2008
Solar powered panels, soft serve ice cream machine, ice cream cones, ice cream
Dimensions variable

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SPENCER FINCH
Sky (Over Franz Joseph Glacier, April 8, 2008, 10:40am)
2008
Ice, dye, water, freezer, mixed media
Dimensions variable

Based on a series of observations of the azure sky above Franz Joseph Glacier in New Zealand, this installation that not only replicates the physical activities of this natural phenomenon, but also produces a pure monochrome painting the color of the sky. The water in the pool is dyed to precisely match the color of the sky and then the overflow from the pool is frozen into ice cubes that are deposited into the chute, which in turn melt into the pool, creating a closed system of melting and freezing blue water.

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SPENCER FINCH
Sky (Over Franz Joseph Glacier, April 8, 2008, 10:40am)
2008
Ice, dye, water, freezer, mixed media
Dimensions variable

Based on a series of observations of the azure sky above Franz Joseph Glacier in New Zealand, this installation that not only replicates the physical activities of this natural phenomenon, but also produces a pure monochrome painting the color of the sky. The water in the pool is dyed to precisely match the color of the sky and then the overflow from the pool is frozen into ice cubes that are deposited into the chute, which in turn melt into the pool, creating a closed system of melting and freezing blue water.

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SPENCER FINCH
CIE 529/418 (candlelight)
2007
Sandblasted glass
Dimensions variable

This room-size stained glass installation shifts the color of the exterior sunlight to the color of candlelight inside the gallery. The title refers to the technical reading of candlelight on the CIE (Committee Internationale d’Eclairage) scale.

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SPENCER FINCH
CIE 529/418 (candlelight)
2007
Sandblasted glass
Dimensions variable

This room-size stained glass installation shifts the color of the exterior sunlight to the color of candlelight inside the gallery. The title refers to the technical reading of candlelight on the CIE (Committee Internationale d’Eclairage) scale.

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SPENCER FINCH
Shade (at the grave of Walt Whitman October 19,2006, 10:15 am)
2006
Fluorescent light box and filters
104 x 51 x 8 in.
Filter colors based on text of “Leaves of Grass”

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SPENCER FINCH
Shade (at the grave of Walt Whitman October 19,2006, 10:15 am) Detail
2006
Fluorescent light box and filters
104 x 51 x 8 in.
Filter colors based on text of “Leaves of Grass”

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SPENCER FINCH
White (Niagara Falls obscured by mist, April 17th, 2006 5:30pm)
2006
Fluorescent light box with laminated filters
20 x 8 feet

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SPENCER FINCH
White (Niagara Falls obscured by mist, April 17th, 2006 5:30pm) Detail
2006
Fluorescent light box with laminated filters
20 x 8 feet

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SPENCER FINCH
Night Sky, Over the Painted Desert, Arizona, 1/9/04, 2004
2004
85 fixtures and 401 Incandescent Bulbs
Dimensions variable

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SPENCER FINCH
Night Sky, Over the Painted Desert, Arizona, 1/9/04, 2004
2004
85 fixtures and 401 Incandescent Bulbs
Dimensions variable

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SPENCER FINCH
Paris/Texas 2003
2003
Sandblasted stained glass
Glass: 12 x 28 feet (Dimensions variable)
France at dusk on January 8, 2003
installation at ArtPace, San Antonio, TX

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SPENCER FINCH
Darkness (Artist’s Studio, October, 2003)
2003
Each: 11 x 10 in.
This work comprises twenty-eight drawings of nightly observations made over a month’s time.

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SPENCER FINCH
Trying to Remember the Color of Jackie Kennedy’s Pillbox Hat Detail
1994
Series of 100
11" x 9" (each)
pastel on paper

Inspired in part by the range of recollections of John F. Kennedy's assassination recounted in the Warren Commission Report, these drawings are an attempt to remember the precise color of the hat the first lady wore on that November day.

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SPENCER FINCH
Trying to Remember the Color of Jackie Kennedy’s Pillbox Hat Detail
1994
Series of 100
11" x 9" (each)
pastel on paper

Inspired in part by the range of recollections of John F. Kennedy's assassination recounted in the Warren Commission Report, these drawings are an attempt to remember the precise color of the hat the first lady wore on that November day.

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SPENCER FINCH
Trying to Remember the Color of Jackie Kennedy’s Pillbox Hat Detail
1994
Series of 100
11" x 9" (each)
pastel on paper.

Inspired in part by the range of recollections of John F. Kennedy's assassination recounted in the Warren Commission Report, these drawings are an attempt to remember the precise color of the hat the first lady wore on that November day.

Artist BioDownload Bio English PDF
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Spencer Finch, Shield of Achilles, 2013

Spencer Finch pursues the most elusive and ineffable of experiences through his work— from the color of a sunset outside a Monument Valley motel room to the afternoon breeze by Walden Pond, the shadows of passing clouds in the yard of Emily Dickinson’s home or the light in a Turner painting.

 

With both a scientific approach to gathering data and a true poetic sensibility, Finch’s installations, sculptures and works on paper filter perception through the lens of nature, history, literature and personal experience. “Contrary to what one might expect,” writes Susan Cross in the monograph for the artist’s 2007 solo exhibition What Time Is It On the Sun? at MASS MoCA, “Finch's efforts toward accuracy—the precise measurements he takes under different conditions and at different times of day—resist, in the end, a definitive result or single empirical truth about his subject. Instead, his dogged method reinforces the fleeting, temporal nature of the observed world, illustrating his own version of a theory of relativity.”

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Spencer Finch, Following Nature (detail), 2013, Indianapolis Museum of Art

Recent major projects include Painting Air, an installation made for the artist’s 2012 survey at the RISD Museum of Art, in which more than 100 panels of suspended glass of varying reflectivity refract and distort an abstract mural inspired by the colors of Claude Monet's garden at Giverny. Lunar (2011), commissioned by the Art Institute of Chicago, is a large sculpture that harnesses the power of the sun, gathering energy during the day and releasing that energy as a glow at the precise color temperature of a full moon. Perhaps most seen is The River That Flows Both Ways (2009), an installation on New York’s High Line in which an existing series of windows is transformed with 700 individual panes of glass representing the water conditions on the Hudson River over 700 minutes in a single day. “Like the ancient practitioners of the hermetic arts, who saw change as the most fundamental truth of the universe,” Cross continues, “the artist doesn’t always provide an answer in his investigations. For Finch art can do more: it can ‘ignite our capacity for wonder.’”

 

Spencer Finch (born 1962, New Haven, Connecticut) has had extensive international solo exhibitions and projects including A Certain Slant of Light, The Morgan Library & Museum, New York, NY, The Skies can’t keep their secret, Turner Contemporary, Margate, UK (2014); Painting Air, Rhode Island School of Design Museum of Art, Providence, RI (2012); Lunar, The Art Institute of Chicago, Chicago; Rome, Museum of Contemporary Art San Diego, La Jolla, CA, Between the light - and me, Emily Dickinson Museum, Amherst, MA (2011); My Business, With the Cloud, Corcoran Gallery of Art, Washington, DC, Evening Star, Pallant House, Chichester, UK, Between The Moon and The Sea, Frac des Pays de la Loire, Carquefou, France (2010); As if the sea should part and show a further sea, Queensland Gallery of Modern Art, Brisbane, Australia (2009). He has taken part in numerous group exhibitions at The Fruitmarket Gallery, Edinburgh, The Hirshhorn Museum and Sculpture Garden, Washington DC, deCordova Museum and Sculpture Park, Lincoln, MA; Scottsdale Museum of Contemporary Art, MACRO, Rome; Museum De Fundatie, Zwolle;  The Solomon R. Guggenheim Museum, New York (2010); Making Worlds: 53rd International Art Exhibition, La Biennale di Venezia (2009); 50 Moons of Saturn, Turin Triennial (2008)..  His work can be found in the collections of the Hirshhorn Museum and Sculpture Garden in Washington, D.C.; the High Museum of Art in Atlanta, GA; the Museum für Moderne Kunst in Frankfurt, Germany; The Kemper Museum of Art, St Louis; The Rhode Island School of Design, Providence, RI; the Museum of Contemporary Art in Chicago, IL and the Solomon R. Guggenheim Museum in New York, NY.  Spencer Finch lives and works in Brooklyn, New York.

Exhibitions
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Gallery Exhibition
Spencer Finch
My business is circumference
533 W26 ST | OCT 14 - NOV 26
New York
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Gallery Exhibition
Spencer Finch & Byron Kim | 斯宾塞芬奇与金允宁作品展
Day and Night | 日与夜
November 9 - December 31, 2013
Shanghai
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Gallery Exhibition
Spencer Finch
Fathom
May 02 - June 15, 2013
New York
Press / Media
Articles / Reviews
Artnet News
"Spencer Finch Makes Breakable Fog," by Blake Gopnik
Articles / Reviews
The Guardian
"A forest grows in Brooklyn: artist plants miniature redwoods in concrete jungle," by Oliver Milman
Articles / Reviews
DNAInfo
"4,000 Young Redwood Trees to Grow in Downtown Brooklyn This Fall," by Alexandra Leon
Articles / Reviews
Artforum
"Public Art Fund to Install Spencer Finch’s Miniature Redwood Forest in Brooklyn"
Articles / Reviews
Artnet News
"Spencer Finch Transports a Hidden Redwood Forest to Brooklyn," by Sarah Cascone
Articles / Reviews
Financial Times
"Crossrail art reveals blue-sky thinking," by Gill Plimmer
Articles / Reviews
The New York Times
Pope Francis, in New York, Takes On Extremism and Inequality (image)
Articles / Reviews
The New York Times
"Drifting in Daylight: Art in Central Park" by Ken Johnson
Articles / Reviews
The New Yorker
"Goings On About Town: This Week"
Articles / Reviews
Artdesk Magazine
"The Mechanics of Perception," by Carol Kino
Articles / Reviews
New York Observer
“On View: The Public Moment of Artist Spencer Finch,” by Ryan Steadman
Articles / Reviews
Artspace
"Spencer Finch on Using Art to Get You to See the Light," by Blair Asbury Brooks
Articles / Reviews
WNYC
"A New York Artist is Seeing the Light," by Deborah Solomon
Articles / Reviews
The New York Times
“For Your Birthday, We Got You the Sun. Spencer Finch’s ‘Certain Slant of Light’,” by Roberta Smith
Articles / Reviews
ARTnews
"Follow the Light," by Hilarie M. Sheets
Articles / Reviews
The New York Times
"The Book Of Hours, Writ Large,” by Carol Vogel
Articles / Reviews
The Economist
“Remembering September 11th: A fitting tribute,” by R.W.
Articles / Reviews
Artnet News
"No Light Down Here in the 9/11 Museum," by Alexandra Peers
Articles / Reviews
Artnet News
“Spencer Finch Immortalizes Crystalline Blue Sky at the 9/11 Museum,” by Sarah Cascone
Articles / Reviews
The Los Angeles Times
“9/11 Memorial Museum works through nation's pain to honor victims," by Tina Susman
Articles / Reviews
The Wall Street Journal
“Excavating Harsh Memories at Bedrock Level,” by Julie Iovine
Articles / Reviews
The New York Times
“The Searing Blues of the 9/11 Sky,” by Randy Kennedy
Articles / Reviews
Modern Painters
"Spencer Finch," by Daniel Kunitz
Articles / Reviews
Artforum
“Reviews: Spencer Finch,” by Ronald Jones
Articles / Reviews
The Washington Post
“Exhibit Review of Spencer Finch’s ‘My Business, With the Cloud’ at the Corcoran,” by Blake Gopnick
Articles / Reviews
Art in America
"The Finch Effect" by Stephanie Cash
Articles / Reviews
Parkett
“Spencer Finch: Measures and Pleasures," by Mark Godfrey
Articles / Reviews
Boston Globe
“Playing with the past while examining the fault lines of memory, At Mass MoCA, Finch ponders limits of knowing,” by Ken Johnson
Articles / Reviews
The New York Times
"Trying to Capture a Trick of Light, a Tug of Memory" by Bridget Goodbody
NewsCurrentArchive
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Artist Talk/Lecture
Public Art Fund
November 16, 2016
The New School, New York
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Commission
Lost Man Creek
October 1, 2016 - March 11, 2018
MetroTech Commons, Brooklyn
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News / Events
Book Signing and Artist Talk
May 7, 2016 | 10 AM
James Cohan, 533 W26 ST
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Museum Exhibition
Another Minimalism: Art After California Light and Space
November 14, 2015 - February 21, 2016
Edinburgh, Scotland
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News / Events
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News / Events
Sunset (Central Park)
July 30 - August 2
Seattle, WAshington
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Commission
Drifting in Daylight: Art in Central Park
May 15 - June 20, 2015
New York, NY
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Artist Talk/Lecture
The Genius of Memory: Spencer Finch and Dr. Gail Saltz
Thursday, March 5, 7:00 PM
New York, New York
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Artist Talk/Lecture
"At the Hub of Things: New Views of the Collection," Hirshhorn Museum & Sculpture Garden
Thursday, January 22, 2015
Washington, D.C
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Museum Exhibition
Solo Exhibition
October 10, 2014 - January 4, 2015
Marfa, TX
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Museum Exhibition
Solo Exhibition
June 20, 2014 - August 23, 2015
New York, NY
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Artist Talk/Lecture
June 20, 2014
The Morgan Library, New York, NY
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Artist Talk/Lecture
May 29, 2014
Starr Auditorium, London, United Kingdom
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Museum Exhibition
Solo Exhibition
May 24 - Sep 21, 2014
Margate, United Kingdom
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Commission
Public Commission
May 15, 2014
New York, NY
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Commission
Permanent Installation at the Montclair Art Museum
January 15 - July 31, 2014
Montclair, New Jersey
Books
image Spencer Finch: The Brain is Wider than the Sky
Publication
Spencer Finch: The Brain is Wider than the Sky
image Spencer Finch: Where Does Red Begin and Where Does it End?
Publication
Spencer Finch: Where Does Red Begin and Where Does it End?
Selected Works on Paper, 1990-2010
image Spencer Finch: What Time is it on the Sun?
Publication
Spencer Finch: What Time is it on the Sun?