Marcia Woods was born in 1929 in Pomona, California. After graduating from Pomona College in 1951 and marrying Herbert Hafif, she planned a year-long trip to Florence in 1961. Hafif settled, however, in Rome, where she remained for almost eight years, painting and exhibiting work she has called “Pop-Minimal.” These works were shown for the first time in the United States in, Marcia Hafif: The Italian Paintings 1961–1969 at Fergus McCaffrey, New York, 2016. Returning to California in 1969, and leaving painting for a time to experiment with film, photography and sound installation, she completed an MFA degree at the University of California at Irvine.
In 1971, Hafif moved to New York City to search out a return to painting at a time when the validity of painting was in doubt and not finding a satisfactory path, she woke on the morning of January 1, 1972, to make her first Pencil on Paper drawing. Using short vertical marks, Hafif covered from top to bottom a 24 x 18 inch sheet of drawing paper. This method was later used in the development of her “color study” paintings. In An Extended Gray Scale, 1972-73, a work that occupied her for nearly a year, she painted gradations from black to white. Painting as many gradations she could distinguish, she completed a total of one hundred and six 22 x 22 inch oil paintings on standard cotton canvases.
Exhibiting for more than eight years with Sonnabend Gallery in Soho and Paris from 1974 to 1981, she developed series of paintings that would become the basis of what came to be called The Inventory: 1974, Mass Tone Paintings; 1975, Wall Paintings; 1976, Pencil Drawings; 1978, Neutral Mix Paintings; 1979, Broken Color Paintings presented at The Clocktower with Alanna Heiss; and 1981, Black Paintings. Hafif continues to add to The Inventory. Most recently, works include the Splash Paintings, 2009-10, and the Shade Paintings, 2013.
In the 1980s and 1990s she developed new series, along with relationships with galleries in Europe, first in Munich, then Dusseldorf, and eventually Vienna, London, Paris, and elsewhere. Hafif’s work has been exhibited extensively in museums, notably at MoMA PS 1 in 1990; Haus für Konstruktive und Konkrete Kunst, Zurich, 1995; FRAC Bourgogne, Dijon, 2000; and MAMCO, Geneva, 2001. In the United States, Hafif’s work was most recently seen in Marcia Hafif: From The Inventory at Laguna Art Museum, 2015, and forthcoming retrospectives will be presented at the Kunstmuseum St. Gallen and Kunsthaus Baselland in 2017. Hafif divides her time between Laguna Beach, California, and New York City.
ArtlystArt Basel’s fifth edition in Hong Kong has closed with encouraging sales recorded across all levels of the market. This demonstrates a continued demand for high-quality works by the world’s leading international collectors and institutions. Attendance at this year’s show, whose Lead Partner is UBS, rose to nearly 80,000 – due to the introduction of evening ticket sales and improved crowd control measures – and attracted leading members of the international art world. Many observers felt that this edition had built on the show’s strong history to attain new levels – Art Basel in Hong Kong now not only stands as the premier fair in Asia but also as one of the leading fairs worldwide. Read More
ARTSY EDITORIAL by Alexxa GotthardtFergus McCaffrey’s elegant booth mingles the practices of two American artists who came of age in the 1960s and happen to be great friends. The works of Marcia Hafif and Richard Nonas, however, differ greatly—and that’s precisely what makes this presentation so compelling. Hafif’s hyper-saturated canvases featuring curvaceous forms that resemble bodily contours (she calls these her “Pop-Minimal” paintings) draw you in. Nonas’s more subtle patinaed steel sculptures cover the floor. They resemble architectural forms or ritualized objects; given Nonas’s early years as an anthropologist, they just might be inspired by them, too. Read More