Berlin 00:00:00 London 00:00:00 New York 00:00:00 Chicago 00:00:00 Los Angeles 00:00:00 Shanghai 00:00:00
members login here
Region
Country / State
City
Genre
Artist
Exhibition

Andrea Rosen Gallery: Pope.L Will Boone | Reflection: Larry Bell, Anne Collier, Bernard Piffaretti - 30 Jan 2016 to 5 Mar 2016

Current Exhibition


30 Jan 2016 to 5 Mar 2016

Andrea Rosen Gallery
525 West 24 Street
544 West 24th Street
NY 10011
New York, NY
New York
North America
T: 212 627 6000
F: 212 627 5450
M:
W: www.andrearosengallery.com











Eraser (prologue before luke), 2015
Courtesy of the artist © Pope.L
123


Artists in this exhibition: Pope.L, Will Boone, Larry Bell, Anne Collier, Bernard Piffaretti


Pope.L
Will Boone

January 30 - March 5, 2016
Opening Reception: January 29, 6 - 8pm
525 West 24th Street, New York New York

Andrea Rosen Gallery is delighted to present an extensive two-person exhibition with Pope.L and Will Boone. This three-room gallery exhibition highlights the work of each artist independently, allowing their juxtaposition to simultaneously foster connections, both in content and aesthetics, and at the same time allow a viewer to see each artist's work through a new and potentially heightened filter.
 
While, over the last year, working toward this exhibition my dialogue with each artist has been autonomous and distinct, and my intention for the exhibition was as much to create a context to highlight each artist's independent vision, I have also come to confirm my intuitive feeling that Will and Pope.L  have uncanny overlaps. While their differences are overt, both are fueled by content. Each artist's works are not merely translations of ideas, but are rather imbued with information. Both embody a clear sense of poetics; they also share an ability to move between materials - where each material has its own intentionality. Pope.L and Will each have a direct fascination with source.  Their studios are filled with information. And while sometimes that material was radically different from one to the other, I was overwhelmed to find commonality, for instance, the same book in both places, "The Poetics of The New American Poetry," 1973... Which is emblematic of so much that each think about: America, place, politics, the creativity and fluidity of language, how the same words can to be constantly reconstructed to describe anew...   While language is essential to both practices, they share an incredible ability to transform language or imagery with equal grace into the poetics of a purely visual yet rigorously embedded experience...  The work is saturated with content.
 
Pope.L's presentation includes three significant bodies of work, comprising wall bound, sculptural and video works. While the Skin Set series is already a distillation of a history of content, also included in the show is a newer body of work; Pope.L's cut-out panels are a further evolution that take lists of some thousand plus titles from that series and materialize them, becoming their own concentrated and further abstracted source of language and poetry. Similarly using imagery and image technologies in opposition to words, his works Syllogism (T-Version) and Theater of Brechtangles integrate videos into sculptures that seem to make a formal, structural sense within the system of logic, but simultaneously deform and abstract as a means to get at expression. Positing language and imagery as a container, Pope.L attempts to draw our attention to the traditions and tensions inherent in formal structures by creating malleability and by interacting with mixed messages. Pope.L notes, "In the works in which I use language, there is a desire to communicate some things... but at the same time there is a desire to express something difficult to get at with language...or there is my desire in the work to say several things in a squabble - it's the squabble I want sometimes." Interested in the tension between creativity, communication and expression, "how they get in each other's way, and rub each other the wrong way," Pope.L continues to investigate a culture of contraries.
 
While Boone has always commanded a multi-disciplinary practice, moving to LA has afforded him the space and freedom to delve more deeply and to push further into the totality of his practice. The two new bodies of work presented - Boone's "Gate" painting series, and new body of sculptures referred to as "Doghouses" - are a clear continuation of previous works, as it has always been at the core of Boone's intention to create systems to assimilate the breadth of his interests, to arrive at abstraction that is "bigger than myself." Each work embodies history, both collective and personal. Within his fascination with source, Boone is interested in how particular arrangements and the accumulation of materials that are clearly part of a larger cultural fabric are what construct personal histories, and how reconfiguring these arrangements creates open vessels for new intention. His "Doghouse" series - developed from the seed of a single doghouse found in the streets of LA - are vessels for an identity or person, investigating interior vs. exterior relationships and concepts of projection. Decorated with various personal collections - from mosaic Slayer carnival mirrors to Charles Bronson photographs - the structures shift between bare shelters and emulated human environments that, like the paintings, slip between source and abstracted surface. His "Gate" paintings - caked impressions of found steel gates - expand on the subjectivity of perspective and coinciding ideas of confinement and protection, drawing our attention to how the distinct communication of information on a surface can obscure and abstract our reading of content. Boone notes, "Sometimes something presents itself like a missing piece of something, like a code that you find and somehow you find where it works."
 
Continuing the gallery's publishing mission to provide a space for related but autonomous content as a supplement to exhibitions, the gallery published a soft cover booklet as an accompaniment to the exhibition, to which both artists have contributed a unique compilation of materials. ARG Publishing's format is to then expand the functionality of these booklets into forthcoming formal exhibition catalogues, including comprehensive installation views emphasizing the significance of exhibition making.
 
Pope.L (b.1955) lives and works in Chicago, IL. His multidisciplinary practice has been the subject of numerous solo shows, at such venues as Susanne Vielmetter, Los Angeles; Littman Gallery, Portland; Galerie Catherine Bastide, Brussels; and Mitchell-Innes & Nash, New York. His largest museum retrospective to date, Trinket, was presented by MOCA, Los Angeles, in 2015. His work is included in the public collections of the Museum of Modern Art, the Whitney Museum of American Art, and the Studio Museum of Harlem, New York; the Walker Art Center, Minneapolis; and the Fogg Art Museum, Harvard University, Cambridge.
 
Will Boone (b. 1982) lives and works in Los Angeles, CA. He has had recent solo shows at Karma, New York; Jonathan Viner, London; and the Rubell Family Collection, Miami. His work is featured in ongoing and upcoming group exhibitions at Gagosian Gallery, Rome; Venus Over Manhattan, New York; and Almine Rech, London. 


Gallery 2

Reflection: Larry Bell, Anne Collier, Bernard Piffaretti
Curated by Philip Martin
January 30 - March 5, 2016
Opening Reception: January 29, 6 - 8pm

544 West 24th Street, New York New York

Andrea Rosen Gallery is pleased to present Reflection, an exhibition featuring the cube sculptures of Larry Bell, the photographs of Anne Collier, and the paintings of Bernard Piffaretti. In their respective practices, these three artists ask questions about what art objects are, how they work, and how they are perceived. 'Reflection' in the work of these three artists is something physical and intellectual, figured by representation and interpretation, shaped by the looping assumptions of art viewing and popular culture alike.
 
In the early 1960s, the gestural oil-on-canvas paintings of Los Angeles-based artist Larry Bell's student years made way for shaped canvases and glass constructions. By 1965, Bell was making vacuum-coated glass cubes. In these works, the expressionist brush strokes of his early paintings are replaced by the effects of a vapor evaporator, a piece of specialized machinery that allowed Bell to apply subtle gradations of translucent color. Bell's seemingly 'touchless' cubes were interpreted as the product of technology. As Bell has stated, "my work is for the dreamers" - opening up the possibility for looking and seeing in as pure a way as possible - using physics in the service of the sensuousness of individual human vision.
 
For over 15 years, Los Angeles-born, New York-based Anne Collier has made photographs that examine photographic representation and practice. As Collier points out, the taking and making of photographic images requires constant manipulation. Her choices in the framing of an individual photograph, for example, determine what is or is not included in a given image. The constructed nature of all photographs means that, as Collier states, "you are constantly made aware of how a photograph edits things." Making a photograph is thus not a simple act of recording. Reinforcing her investigation of the forces at play in photographic imagery, Collier photographs pre-existing image-driven consumer objects: record album covers, popular magazines, film stills, etc. Shot by Collier against neutral studio backdrops, the objects she chooses are seen to embody the language of social and material desire, and reflect the values of our culture as engendered by each of us individually - in our gaze and in our interpretations.
 
Since the early 1980s, Paris-based Bernard Piffaretti has approached the blank canvas with a first mark: a single line that he paints down the center of each work. This first mark has been described as "a sort of question," rather than a defining line, a statement, or a figure in space. Piffaretti paints a composition on one side of this line and then paints a duplicate on the other side of it; FRAC Franche-Comté curator Sylvia Zavatta writes that, for Piffaretti, that first line opens up "the distance he needs to concentrate on his real purpose: painting itself." Piffaretti's paintings incorporate both individual expression and duplication of that expression into the final art object. His paintings are primary sources marking the original spot of expression, and also secondary sources that translate for Piffaretti- and for us - the experience of that expression. In looking at Piffaretti's work, our eyes move through his compositions, matching color and shape, line and texture in a dynamic, yet strangely looping fashion that wraps back upon itself.
 
Philip Martin
 
 
Larry Bell (b.1939) has exhibited widely, including the group exhibitions "Larry Bell, Robert Irwin, Doug Wheeler," (Tate Britain, London, UK); "11 Los Angeles Artists," (Hayward Gallery, London, UK) and "Phenomenal," (Museum of Contemporary Art San Diego, San Diego, CA). Solo exhibitions include the Pasadena Art Museum (Pasadena, CA); Fort Worth Art Museum (Fort Worth, TX); Museum of Contemporary Art (Los Angeles, CA); Denver Art Museum (Denver, C0); Carré d'Art Musée d'art Contemporain de Nîmes (Nimes, France); and The Chinati Foundation (Marfa, Texas).
 
Anne Collier (b.1970) has recently held solo exhibitions at the Aspen Art Museum (Aspen, CO); Art Gallery of Ontario (Toronto, Ontario); and Museum of Contemporary Art (Chicago, IL). Her work has been included in such recent exhibitions as "Photo Poetics" (Guggenheim Museum, New York, NY); "America Is Hard To See" (Whitney Museum, New York, NY); and "UGO RONDINONE : I ♥ JOHN GIORNO" (Palais de Tokyo, Paris, France). Collier's exhibition at the MCA Chicago was accompanied by the monographic text, "Anne Collier" (2014), with essays by Michael Darling and Chrissie Iles.
 
Bernard Piffaretti's (b.1955) work will be the focus of a survey exhibition at the Centre Pompidou in 2017. Piffaretti's work was recently the subject of two-person exhibition with Martin Barré at Musée des Beaux Arts de Nantes. Karma, New York will release a new English-language book on Piffaretti's work in early 2016. Recent solo exhibitions include the FRAC Franche-Comté, (Besançon, France) and Cherry and Martin, (Los Angeles, CA). A new monograph on Piffaretti's work, with texts by Marie Muracciole and Jens Asthoff, will be published in 2016 by the Museum of Modern and Contemporary Art (MAMCO), Geneva.


For media inquiries, please contact Philip Tan at p.tan@rosengallery.com or Justin Conner at justin@hellothirdeye.com.



Andrea Rosen Gallery






SIGN UP FOR NEWSLETTERS
Follow on Twitter

Click on the map to search the directory

USA and Canada Central America South America Western Europe Eastern Europe Asia Australasia Middle East Africa
SIGN UP for ARTIST MEMBERSHIP SIGN UP for GALLERY MEMBERSHIP