Fluid Red Tone (in the break), 2022; Architectural felt, acoustic panel, and; acrylic on canvas; 48 × 36 1/2 × 2 3/4 inches (121.9 × 92.7 × 7; cm); The Hill Collection

The centerpiece of the exhibition will be three site-specific paintings created by Crowner in direct response to sculptures by Cy Twombly, an artist whose sculptural output consisted of intimate, corporeally scaled works. The Twombly/Crowner couplings modulate between spectator and subject, foreground and background, addressing each other across medium and time. In conversation with Levi Prombaum for the accompanying catalogue, Crowner elaborates: “These blue monochromes might be staged as backdrops, but they are more than backgrounds. They are paintings that replace windows, and that act as windows. What if we think about a sculpture looking at one, or looking through one, onto the city?”

Windows as architectural elements, framing devices, and portals are key to the project. Crowner explains: ​​“I’ve been thinking about the window not only as a metaphor for painting, like that classic Renaissance view of the painting as a window onto the world. Paintings and windows are also a kind of staging ground. Through them, we learn so much about the world. We pay attention to what’s around it, to what’s through it… We negotiate presence, tension, and embodiment.”