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Blum & Poe : SLATER BRADLEY - Hope From a Dark Place - 3 Nov 2007 to 22 Dec 2007

Current Exhibition


3 Nov 2007 to 22 Dec 2007
Hours -Tuesday - Saturday from 10:30 am to 6 pm
Opening Reception: Saturday, November 3, 6 – 8 pm
Blum & Poe
2754 S. La Cienega Blvd
CA 90034
Los Angeles, CA
California
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Artists in this exhibition: SLATER BRADLEY


Blum & Poe is pleased to announce our second solo-exhibition with New York based artist Slater Bradley. The exhibition will include videos, sculpture, and drawings.

Bradley will present a sculpture entitled Hope From a Dark Place, created from an outmoded square piano from the 1860s. Bradley uses scrimshaw, the practice used by whalers of engraving marine byproducts, to carve his drawings of False Killer Whales onto the ivory keys. Bradley initially began this drawing project eight years ago, but it was never fully realized until this sculpture. False Killer Whales are known for their highly trainable nature, also for the inexplicable re-occurrence of committing mass suicide. Bradley is concerned with the lack of identity of these whales and their tendency towards taking their own lives, as the name “False Killer Whale” is defined from what they are not, an opposite or negative, which is a notion he often explores throughout his practice. Some whales are etched in performance and play, while others are depicted in their dying state. Bradley draws from an abandoned collective history, and imbues it with contemporary anxieties, while often conversely uses imagery from today and gives it the weight of the past. There will be performances scheduled throughout the exhibition where a pianist cast and clad in a tuxedo suit designed by Bradley through his new label FeS₂, will play an original score composed by Max Seigel; a collaborator with whom he has worked on numerous soundtracks for videos, including The Abandonments in this exhibition.

Bradley will exhibit a film Blackwell’s Island, where he takes Thomas Edison’s 1903 black and white “Actuality” film of a panoramic view from a boat of Blackwell Island as it travels the peripheral vista. The name was later changed to Roosevelt Island -- a strip of land that stretches only forty-blocks and lies in the East River between Manhattan and Queens. The film pans such buildings as the old New York City Lunatic Asylum, the Penitentiary, the Charity Hospital, and the lighthouse. Bradley re-shoots this footage and trajectory with Kodachrome 40 Super 8 film, which was discontinued by Kodak two years ago. Bradley superimposes his own color and disoriented footage over Edison’s film, which was made with a now obsolete camera and film stock, to engage in a dialogue between these lost languages. The death of the film stock points to the death of a language. He juxtaposes these variant images to convert them into type of reflection of one another, further exploring how the past and present collide.

This same theme continues in his new series of large-scale drawings. Bradley’s doppelganger, Benjamin Brock, is at times dressed as various iconic figures, yet here we also find him in some works as an abstracted constellation of Bradley, hence the titles of the works relating to outer space. He changes the context of his familiar phantom persona by erasing the c-prints with gold marker, instilling an element of splendor and isolation. By altering his original body of photographs, Slater rewrites his own history, and like Edison’s inventions, he takes something that is endlessly reproducible, and defies this possibility by involving the mark of his own hand.

In the video piece, The Abandonments, Bradley’s doppelganger is filmed dressed as a turn-of-the-century gentleman, Philip Nod, ultimately channeling Gene Kelly’s guise in “Singin’ in the Rain.” Instead of a Hollywood sound stage, he wanders present day Roosevelt Island with the backdrop of disowned historic buildings, alternately seen in their existing state in the piece Blackwell’s Island. Bradley incorporates CGI effects, using a rain cloud that acts as a shadow of Nod’s lunacy. Bradley forms a portrait of insanity, a man displaced from a former realm of madness into a current psychosis, with the skeleton of the asylum as the clue, and a song and tap dance number as an escape.

The title of the exhibition, Hope From a Dark Place, suggests an elegiac awareness that looks to opposition to decipher duality, Bradley invites us not to merely Google the past, but to recognize the past haunting us, and more importantly informing us, in the present.

Bradley was born in 1975 and this is his 29th solo exhibition. He has recently had several solo-exhibitions, including in 2007 at the Contemporary Art Museum, St. Louis, MO and in 2005 The Doppelganger Trilogy at The Solomon R. Guggenheim Museum, New York. Group shows include, in 2006 Full House –Gesichter einer Sammlung, Kunsthalle Mannheim, Mannheim, Germany. In 2005, Bradley was exhibited in Schirn Kunsthalle, Frankfurt; The Gravity of Art, De Appel Foundation, Amsterdam; Superstars – The Principle of Renown, Kunsthalle Wien, Vienna, and he was in the 2004 Whitney Biennial, New York. Bradley’s work belongs to such public collections as, The Museum of Contemporary Art, Los Angeles; The Museum of Modern Art, New York; The Solomon R. Guggenheim Museum, New York; The Whitney Museum of American Art, New York; Berkeley Art Museum and Pacific Film Archive, University of California, Berkeley; Hamburger Kunsthalle, Hamburg, Germany. In 2005 he was awarded The Louis Comfort Tiffany Foundation Award in Video. Bradley lives and works in Brooklyn, New York.





Born:
San Francisco, CA, 1975

Education:
University of California, Los Angeles, CA, B.A.

Lives and works in Brooklyn, New York



One-Person Exhibitions

2007
Blum & Poe, Los Angeles, CA
Helga De Alvear, Madrid, Spain
The Unreleased Factory, Max Wigram Gallery, London

2006
Team, New York, NY


2005
Recent Acquisitions: Slater Bradley’s Doppelganger Trilogy, Guggenheim, New York, NY (curated by Nancy Spector)
Taka Ishii Gallery, Tokyo, Japan (opening in September)
MATRIX 216, Berkeley Art Museum, CA and Pacific Film Archive, CA

2004
The Doppelganger Trilogy, Blum & Poe, Los Angeles, CA
Stoned & Dethroned, Team Gallery, New York, NY

2003
Nobody Gives a Fuck What You Go Do With Your Life, MW Projects, London, UK
Center for Curatorial Studies Museum, Bard College, Annandale-on-Hudson, NY (cat.)

2002
The Armory Photography Show, New York, NY (under the auspices of Team Gallery)
Here are the Young Men, Team Gallery, New York, NY Universitätsstadt Kaiserslautern, Kaiserslautern, Germany
Art + Public, Geneva, Switzerland
Keys in the Mailbox, Arndt & Partner, Berlin, Germany

2001
Video Cube, FIAC, Paris, France (under the auspices of Galerie Yvon Lambert)
Statements, Art l 32 l Basel, Basel, Switzerland (under the auspices of Team Gallery)
Trompe Le Monde, Galerie Yvon Lambert, Paris, France Home Town Hero, Refusalon, San Francisco, CA

2000
Special Projects Series, P.S.1, Long Island City, NY
Charlatan, Team Gallery, New York, NY
I was rooting for you, Irvine Fine Arts Center, Irvine, CA

1999
The Fried Liver Attack, Team Gallery, New York, NY



Group Exhibitions

2007
Sweet Bird of Youth, Arndt+Partner, Berlin, Germany (curated by Hedi Slimane)
Sympathy for the Devil: Art and Rock and Roll Since 1967, Museum of Contemporary Art, Chicago, IL


2006
The Monty Hall Problem, Blum and Poe, Los Angeles, CA, curated by Slater Bradley
Smoke and Mirrors: Deception in Contemporary Art, UAB Visual Arts Gallery, Birmingham, AL


2005
Threshold, Max Wigram Gallery, London, England
Bridge Freezes Before Road, Gladstone Gallery, New York, NY (curated by Neville Wakefield)
Superstars: The Principe of Reknown, Kunsthalle Wien, Vienna, Austria (curated by Thomas Miegang, Heike Eipeldauer, Florian Steininger) (forthcoming October)
NRW-Forum Kultur und Wirtschaft, Dusseldorf, Germany (forthcoming September)

2004
I Feel Mysterious Today, Palm Beach Institute of Contemporary Art, Palm Beach, FL (cat.), (curated by Dominic Molon)
Premieres, The Museum of Modern Art, New York, NY
A Very Liquid Heaven, The Tang Museum, Saratoga Springs, NY (cat.)
Me, Myself and I, University Galleries, Florida Atlantic University, Boca Raton, FL (curated by Paul Laster and Renee Riccardo)
Unlightment, Galerie Nationale du Jeu de Paume, Paris, France
The Yugoslav Biennial, Vrsac, Serbia (cat.)
The Whitney Biennial, The Whitney Museum of American Art, New York, NY (cat.)
Playlist, Palais de Tokyo, Paris, France (cat.)
Will Boys Be Boys?: Questioning Masculinity in Contemporary Art, The Salina Art Center, Salina, KS (curated by Shamim M. Momin, traveled to Indianapolis Museum of Art, IN)
Motion Stills, Savannah College of Art and Design, Atlanta, GA
Harlem Postcards, Studio Museum Harlem, Harlem, NY
Stalemate, Museum of Contemporary Art, Chicago, IL
The Rose Garden Without Thorns, Galerie Lisa Ruyter, Vienna, Austria
Portraits, Esso Gallery, New York, NY

2003
When Darkness Falls, Gallery 400, University of Illinois, Chicago, IL (curated by Melanie Schiff and Kirsten Van Deventer, traveled to Midway, Saint Paul, MN)
An Enquiry into those Kinds of Distress which excite agreeable Sensations (1773): Slater Bradley & Banks Violette, Team Gallery, New York, NY
Blum & Poe, Los Angeles, CA
from the flat files, Ramp Gallery, Wakaito Institute of Technology, Hamilton, New Zealand (curated by Brian Butler and Amada Cruz)
Study, Taka Ishii Gallery, Tokyo, Japan
What am I doing Here?, ESSO Gallery, New York, NY
Then The World Would Be Upside Down, Tina Kim Projects, New York, NY (curated by Randy Moore)
Country Mouse, City Mouse, Space 101, Brooklyn, NY (curated by David Hunt)
I See a Darkness, Blum & Poe, Santa Monica, CA
The Fourth Sex: The Extreme People of Adolescence, Fondazione Pitti Immagine, Florence, Italy (curated by Francesco Bonami and Raf Simons)
Someone to Watch Over Me, Smart Project Space, Amsterdam, Netherlands (curated by Thomas Peutz and Una Henry)

2002
The Passing: Slater Bradley, Matt Collishaw, Christian Marclay, Galeria Helga de Alvear, Madrid, Spain (curated by Charlotte Schepke)
Nuit Blanche: plus qu’une image, Aux Anciennes Pompes Funebres de la ville de Paris, Paris, France (curated by Caroline Bourgeois)
Music/Video, Musée d’Art Moderne et Contemporain, Strasbourg, France (curated by Lydia Yee)
Les Enfants du Paradis, Galerie Yvon Lambert, Paris, France
Art Unlimited, Art | 33 | Basel, Basel, Switzerland (under the auspices of Team Gallery) (cat.)
Slater Bradley, Mark Leckey, John Williams Lawson, Menzies Flynn, Low, Los Angeles, CA
International Contemporary and Emerging Art, Sydney, Australia
The Standard Projection #3, The Standard, Los Angeles, CA (curated by Yvonne Force)
Photographier, Collection Lambert en Avignon, Avignon, France
burst, Team Gallery, New York, NY
Copy, Roth Horowitz Gallery, New York, NY (curated by Neville Wakefield)
Heaven Knows I’m Miserable Now, Low, Los Angeles, CA
Dark Spring, Ursula Blickle Stiftung, Kraichtal, Germany (curated by Nicolaus Schafhausen and Liam Gillick) (cat.)

2001
Casino 2001, Stedelijk Museum voor Actuele Kunst, Ghent, Belgium (curated by Jeanne Greenberg Rohatyn) (cat.)
Art and Wellbeing: The Aesthetics of Recreation, Kunsthaus Meran-Merano Arte, Merano, Italy (curated by Andrea Domesle) (cat.)
Metropolis Now, Borusan Centre for Culture and Arts, Istanbul, Turkey (curated by Elga Wimmer, traveling to the Reina Sofia, Madrid, Spain)
Le Studio at Galerie Yvon Lambert, Paris, France
Objects in Mirror Are Closer Than They Appear, Team Gallery, New York, NY
Schau mir in die Augen, Kleines! Kunsthalle Fridericianum, Kassel, Germany (curated by René Block) (cat.)
In a Lonely Place, National Museum of Film, Television and Photography, West Bradford, UK (curated by Greg Hobson) (cat.)
Dear Dead Person, Momenta, Brooklyn, NY (curated by Banks Violette)

2000
Friction Fiction, Echo Park Projects, Los Angeles, CA 1:1, Refusalon, San Francisco, CA
The World is Not Enough, Museum of Contemporary Art, Washington, DC (curated by Lisa Ruyter)

1999
SoCal Car Culture, Irvine Fine Arts Center, Irvine, CA (cat.)
PO + KU ART REVOLUTION, Parco Gallery, Tokyo, Japan (curated by Takashi Murakami)
Oh my god, I live on the thirteenth floor in Holland, which does not exist in the United States, or no?, Alternative Space, Amsterdam, Netherlands (curated by Jay Batlle)
long cold winter in an endlessnameless, Studio 870, Los Angeles, CA

1998
Blind Date with Erik Wesselo, W139, Amsterdam, Netherlands (cat.)
A sound goodbye demand with Jay Batlle, Studio 870, Los Angeles, CA
Text and Numbers, Remba Gallery, Los Angeles, CA

1997
Ca 90001-185, W139, Amsterdam, Netherlands


Videotapes

1998
Take me home forever and ever, edition of fifty VHS signed and numbered (U.S), unlimited VHS distribution in Japan (Takashi Murakami’s Hiropon Factory)


Video Screenings

1998
power through joy, Melkweg theatre, Amsterdam, Netherlands



Curatorial Projects

2004
I, Assassin, Wallspace Gallery, New York, NY

1997
new memory, Spanish Kitchen, Los Angeles, CA


Special Projects

2004
Melody, Blonde Redhead, 4AD
Conquistadors (who took their share), Whitney Gala, Whitney Museum of American Art, New York, NY
Art for Art’s Sake, The Animals

2001
Radio Gra Kill Rock Stars (KRS 369), Unwound


Public Collections

Center for Curatorial Studies Museum, Bard College, Annandale-on-Hudson, NY
Hamburger Kunsthalle, Hamburg, Germany
The Kramlich Collection, San Francisco, CA
The Solomon R. Guggenheim Museum, New York, NY
The Whitney Museum of American Art, New York, NY




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