12 Sept 2007 to 27 Oct 2007
Gallery Hours: Tuesday - Saturday, noon to 6pm
OPENING: WEDNESDAY SEPTEMBER 12, 6 - 8pm
320 West 13th Street
(entrance on Horatio St. between
New York, NY
Eighth Avenue and Hudson Street)
Dan Miller Installation View Untitled, 2004, Ink and acrylic on paper 22 1/2 x 30 in. Courtesy of the artist and Creative Growth, Oakland
THE BULLETIN BOARD: White Columns Poetry Project #2: MALCOLM MOONEY
GALLERY: DAN MILLER
WHITE ROOM: WILL FOWLER
WHITE ROOM: JENNIFER WEST
PROJECT: JOSH BRAND
SEPTEMBER 12 - OCTOBER 27, 2007
GALLERY HOURS: TUESDAY - SATURDAY, NOON TO 6 PM
The Bulletin Board White Columns Poetry Project #2: Malcolm Mooney
The fourteenth presentation in White Columns’ project space The Bulletin Board – a 6’ x 4’ glazed aluminum bulletin board installed in our entrance lobby – continues our new exhibition series: the ‘White Columns’ Poetry Project’, whereby we will present the work of living poets. The ‘Poetry Project’ seeks – in an informal manner – to consider the ongoing entanglements between the visual art and poetry worlds. The second presentation is by the Boston-based artist, musician, and poet Malcolm Mooney and consists of two recent illustrated poems: “To Love and to Life; and to Loves of My Life” (2006) & “And then there is Music” (2005.) Malcolm Mooney is one of the most celebrated figures in contemporary music circles. He was the original vocalist with the seminal late-1960s/1970s German rock band CAN. Speaking of Mooney’s contribution to Can’s development founding-member Holger Czukay has said: “Can wasn’t sure which way to go musically until Malcolm Mooney jumped up to the microphone one day and pushed us into A RHYTHM.” Can’s rhythmical legacy can be traced through virtually all subsequent developments in contemporary music (and beyond), from post-punk experimentation of the late 1970s to today’s post-disco scenes. Mooney’s recordings with Can remain among the most influential of the past forty years. Mooney appears on Can’s first two albums ‘Monster Movie’ (1969) and ‘Soundtracks’ (1970). He left the band in 1970, returning to the United States to focus on his own artistic development. In 1986 Mooney rejoined Can to record the reunion album ‘Rite Time.’ Since then Mooney has continued to make art, write, and work on musical projects including 1998’s ‘Malcolm Mooney & The Tenth Planet,’ amongst others
White Room Will Fowler
White Columns is pleased to present the first New York solo exhibition by the Los Angeles-based artist Will Fowler. Writing recently, Los Angeles-based writer Michael Ned Holte succinctly described Fowler’s approach: “Deploying straight-from-the-tube acrylic colors in riotous assemblies of geometric shapes – circles, squares, triangles, and snaking paths – that cover each painting’s surface, Fowler pushes familiar, slyly referential forms into complex compositions, suggesting a rich, even allegorical potential for the medium without a whiff of irony or nostalgia.” For his exhibition at White Columns Fowler will present a discrete group of six recent paintings that embody seemingly dysfunctional systems, structures and processes, creating highly idiosyncratic works that explore, expand upon, and explode the legacies and conventions of non-representational painting. Will Fowler lives and works in Los Angeles. He received an MFA from Art Center, Pasadena, CA in 2000, and a BFA from The School of the Art Institute of Chicago, IL, in 1992. He has had two solo exhibitions at David Kordansky Gallery, Los Angeles (2007, 2004). His work was included in ‘Dereconstruction’, curated by White Columns’ director Matthew Higgs at Gladstone Gallery in 2006. Other group shows include: ‘Concepts from painting’, curated by Martin Prinzhorn, Ar/ge Kunst Galarie Museum, Bolzano, Italy (2006); ‘Sugartown’, Elizabeth Dee, New York (2004); amongst others.
White Room Jennifer West
White Columns is pleased to present the first New York solo exhibition by the Los Angeles-based artist Jennifer West. Her installation includes two recent film projections: “Naked Deep Creek Hot Springs” and “Whatever Film” (both 2007) that originate in her signature process of subjecting film stock to numerous organic and inorganic processes (e.g. soaking the film in lithium hot springs water, Jack Daniels, or rubbing the film’s surface with sweat, etc.) The resultant films self-consciously reverberate with aspects of the (in)formal experimentation of post-war, avant-garde film-making (e.g. West cites Tony Conrad for his “pickling, cooking and throwing films”), and are juxtaposed in installations to create aesthetically saturated environments that are at once entropic and intoxicating. Jennifer West has produced a new issue of White Columns’ xerox publication – ‘The W.C.’ - entitled ‘Production Stills (AKA Jwest)’ that acts as a coda to her show. It is available for $1 from the gallery. Jennifer West lives and works in Los Angeles, CA. She received an MFA from Art Center, Pasadena, CA in 2004. Recent exhibitions include: ‘In Apetura’, Vilma Gold, London (2007); ‘Between Two Deaths’, ZKM, Karlsruhe, Germany (2007); ‘Yeah Film’, Project Space, Sandrioni Rey, Los Angeles (2007); ‘Pacing’, MARC FOXX, Los Angeles (2006); and ‘Grupe’, The Mandrake, Los Angeles & Gavin Brown’s enterprise at Passerby, New York (2006), amongst others. Her work will be included in ‘Words Fail Me’, an exhibition curated by White Columns’ director Matthew Higgs for MoCAD in Detroit (Fall 2007). Later this year she will have a solo exhibition at MARC FOXX, Los Angeles, and in 2008 at Vilma Gold, London.
Project Josh Brand
White Columns is pleased to present the first solo exhibition by the New York-based artist Josh Brand.
Brand’s exhibition - in White Columns’ Project space – consists of a group of eleven recent unique photographic works. With two exceptions – where a negative exists – Brand’s images are produced in the darkroom, without the use of a camera or film. Exposing photographic paper to analogue processes and serendipitous effects Brand’s images exist within a continuum of 20th Century photographic experimentation, and reverberate with the work of a recent generation of artists – amongst them Liz Deschenes, Eileen Quinlan, Markus Amm, and Wolfgang Tillmans – who have, in different ways, sought to explore both the limits and limitations of the non-representational photographic image.
Josh Brand lives and works in Brooklyn, NY. He received a BFA in 2002 from the School of the Art Institute of Chicago, IL. He is a member of the collective ‘Hurray’. Group exhibitions and screenings include ‘Greater Brooklyn’, CRG Gallery, New York (2005) and ‘Prekops at Home’, Pittsburgh Center for the Arts, Pittsburgh, PA (2003). Projects with ‘Hurray’ include: ‘Bring the War Home’, Elizabeth Dee Gallery, New York & QED, Los Angeles, CA (2006); and ‘Hurray’, Project Room, Nicole Klagsbrun Gallery, New York (2005), amongst others.