10 November 2011
  Painting & Drawing  


Tom LaDuke, milk, 2011
Tom LaDuke
milk, 2011
oil and acrylic on canvas over panel
45 X 60 inches
Courtesy of CRG Gallery, New York
November 03, 2011 - December 17, 2011
CRG Gallery is delighted to announce the first New York solo show of Los Angeles-based painter and sculptor, Tom LaDuke. The artist works in painting and sculpture, sourcing from popular film and art history to construct his canvases and objects. The work focuses on the boundaries of visual recognition.
The vitality of the well-known space is momentarily resurrected as if perceived for the first time by a stranger. The slightly unsettling realization that this stranger’s gaze is in fact our own, effectively collapses two seemingly disparate psychological states into one; intimacy and distance coalesce at a single incredibly illusive location. This exchange is taking place around us constantly but we only take note that “something” is happening when it pokes out from the “nothing” of everyday life. The representational aspects in both my painting and sculpture are intended to build a background of intersubjective reality into which these breeches of continuity can occur. This disruption in consistency takes place at precisely the location of the viewer -a blind at the edge of the clearing through which we can perceive ourselves, looking back.
-Tom LaDuke, 2011
LaDuke’s four most recent paintings are developed through three separate layers of paint with three different narratives. The first layer, produced with an airbrush, is a still scene from a canonical film (references in this show include Blade Runner [1982], 2001: A Space Odyssey [1968], Blue Velvet [1986], and Cries and Whispers [1972]). The second, also created with an airbrush, is a depiction of the artist’s studio taken from a photograph, manipulated in the staging of objects and often including a mirror to reflect elements within the studio. Finally, the third is the application of brightly colored, impasto brush strokes. This top surface’s subject matter is derived from canonical art historical paintings, here including Han's Holbein's Ambassadors, Jean-Antoine Watteau's Pierrot, Caspar David Friedrich's Man and a Woman Contemplating the Moon, and Nicolaes Eliaszoon Pickenoy's Osteology Lesson of Dr. Sebastiaen Egbertsz.
It is no surprise that LaDuke’s sculptures also involve a level of illusion. With Inexorable Goodbye, LaDuke constructed what appears to be, from a distance, a lace kerchief delicately floating, as though draped over something. Upon closer investigation, the viewer discovers that it is not a kerchief, but a structure molded painstakingly from salt and superglue. Other sculptures included in the show have similar tromp l'oeil elements-- a "feather" produced from human hair and fingernails, a "spider web" produced of super glue and polystyrene.

548 W 22nd St
New York, NY 10011
T: 1 (212) 229-2766

Ai Sasaki, Drawings for Poems, 2011
Ai Sasaki
Drawings for Poems, 2011
Colored pencil and oil on paper
56.8 x 76.8cm
"Walking: To Draw the World"
Ryoko Aoki + Zon Ito:
"The state one reaches by the age of 9, and the sunshine of those days"
November 11 – December 24, 2011
Opening reception: Saturday, November 11, 18:00 - 20:00pm
(Keijiro Suga's reading: 19:00 at the venue during the private view)
Taka Ishii Gallery Kyoto is pleased to announce "Walking: To Draw the World" in gallery 1 and "The state one reaches by the age of 9, and the sunshine of those days" in gallery 2 from Friday 11 November to Saturday 24 December.
"Walking: To Draw the World" consists of Keijiro Suga's poetry, Ai Sasaki's drawings and a display of books based on the theme of "books for walking, reading and thinking". Inspired by the words of Suga, a poet, Sasaki's drawings are created conjunctively, as though to huddle together with Suga's poetry. They are made through a varied selection of materials including colored pencil, pastel and colored inks, and each has varied expressions. Slowly walking through the gallery, the experience of being transfixed between the imaginative scenes that the poetry invites as well as the time spent speculating about the drawings will no doubt conjure a new facet to the act of walking within the viewer.
The "Walking" project began in 2009 at Gallery Zero in Ikuta Library, Meiji University and was further developed by Keijiro Suga (b.1958) and Ai Sasaki (b.1976, Osaka). The project was exhibited at the Glass Pyramid of Moerenuma Park (Hokkaido), and continues today.
For "The state one reaches by the age of 9, and the sunshine of those days" , Ryoko Aoki (b.1973, Hyogo) and Zon Ito (b.1971, Osaka) present a video work. This exhibition is a further development from the video installation currently exhibited in "Ways of Worldmaking" at the National Museum of Art, Osaka. Since 2000, the pair's practice has been receiving high acclaim in shows such as "The Yokohama Triennale 2001", "Roppongi Crossing: New Visions in Contemporary Japanese Art 2004", "I still believe in miracles" (Musée d'Art Moderne de la Ville de Paris, 2005) as well as exhibitions overseas in Italy, Switzerland, Australia, Germany and Taiwan.

483 Nishigawa-cho Shimogyo-ku
#600-8325 Kyoto
T: +81(0)75 353 9807

Miriam Cahn, Ohne titel, 2007
Miriam Cahn
Ohne titel, 2007
Oil on canvas
70.87 x 49.21 inches (180 x 125 cm)
Courtesy of the artist and Elizabeth Dee, NY
5 Nov 2011 - 22 Dec 2011
Elizabeth Dee is pleased to present Miriam Cahn's second solo exhibition following her long-awaited return to New York earlier this year in her debut with the gallery. This exhibition will focus on Cahn's painting practice spanning three decades. A beloved and historically significant voice in Switzerland, Cahn represented her home country at the 41st Venice Biennale in 1984.
In Drawing Room Confessions Issue #3, a journal published on the occasion of Cahn's current solo exhibition with the David Roberts Art Foundation in London, Cahn describes how her investigations in film, drawing, books, and performance inevitably led to making paintings. Growing up with black and white television and experiencing art history through books with black and white plates brought Cahn to rule out color as an unnecessary complication in her early career. Color signified wealth since few could afford to print in color.
Years later, Cahn began producing paintings in color for the first time. Cahn's psychosomatic color palette is generational, influenced by the hyperreality of color experience depicted in artificially colored films like Michelangelo Antonioni's, Il deserto rosso (1964). The idiosyncratic quality of her paintings can be seen as an intentional confusion of perception with reality. The figure, animal, or landscape becomes reduced to a few brutal performative gestures in some paintings while areas of sensitive but deliberate rendering exist in others.
A rigorous decision-making process results in psychologically complex and historically ambiguous works. She might decide upon a predetermined amount of time - a matter of hours, a night, a week - to feverishly complete a body of work from scratch. When she returns to the pieces, she never makes adjustments; rather, she edits: approving or rejecting her creations wholesale. While retaining the spontaneity and power of her drawings, films, and performances, Cahn's paintings speak to the development of color images in television, film, and print-production from her mid-century childhood to today.
This is Miriam Cahn's second exhibition at Elizabeth Dee. Select exhibitions include David Roberts Art Foundation (2011, solo); Galerie Meyer Riegger, Berlin/Karlsruhe (2009, solo); Galerie Jocelyn Wolff, Paris (2009, solo); David Roberts Art Foundation, London (2009); Kirchner Museum, Davos, Switzerland (2006, catalog); MGK Museum für Gegenwartskunst, Basel (2006); Fundación La Caixa, Madrid, Spain (2003, solo, catalog); Castello di Rivara, Centro d'Arte Contemporanea, Rivara, Italy (1999, solo); ICA London (1997); Kunsthaus Zürich (1993, solo, catalog); Museum für Moderne Kunst, Frankfurt (1992); 5th Sydney Biennial (1986); 41st Venice Biennale (1984); Museum of Modern Art, New York (1984); Kunsthalle Basel (1983, solo); Documenta 7, Kassel (1982), STAMPA, Basel (1981, 1979, 1977, solos)

545 West 20th Street
New York, NY 10011
T: +1 212 924 7545

Damien Flood, Bench (2010)
Damien Flood
Bench (2010)
Oil on cotton
60 x 50cm
Courtesy of Green on Red Gallery, Dublin
History of the Visitation
Opening Reception: 10 Nov 6 – 8pm
Exhibition runs until 10 Dec.
Green On Red Gallery is very happy to announce its second solo show of new works by Damien Flood.  Again the exhibition is marked by a new publication, Spectral Gallery.  This time the book forms part of the exhibition, per se, as well as expanding on the neighbouring works fictionally and critically.  All works are moderate in scale, some book-size.
Since Counter Earth in 2009 in Green On Red Gallery, Flood’s practice has evolved in rich and fascinating ways.  He continues to push and exploit the potential of his primary medium, oil on canvas, with intriguing results.  His world is expanding in alien directions, apparently devoid of natural light or sometimes about that light.  Equally it is unashamedly and indulgently caught between, on the one hand, an abandon born of an abstract use of his medium and, on the other, maintaining one limb in the “ real “ world.  The boundary between “real” and fictional, however, is no longer meaningful in Flood’s vocabulary.
Never one to stay in one place for too long, he has for The History of the Visitation, produced a corpus of paintings and objects that is as diverse, unpredictable and open as ever.  No one overriding theme emerges.  Flood’s world or New Geography is, at times, microscopic in its focus but in spite of or even because of this can very quickly lead us to an imaginary vast expanse.  All is never as it seems or straightforward or even stationary in Flood’s work.  In Dot Dot Dot and Rock and Cylinder, for example, one painting supplants another in a reversal of strategy or is it a doubling up of narratives.  No one reading is possible or, if you go by previous belief systems and bodies of knowledge, like the one quoted by the artist : the world according to the now discredited 17th Century theoretician and cleric Athanasius Kirchner, desirable.  As Flood tells us :
Some areas of this new place appear pulled apart - mountains sit on an examination bench as though a scientist has been hungrily excavating in search of hidden answers. Meanwhile traces of other explorers are suggested by the ‘Galilean Eye’ peering as new plant life emerges from the barren ground. Water forms structural pillars and rocky mountains melt into a microscopic pool. Not all is as it appears and more questions surround how we see the world through the reading of paint.
Complicating and richly embellishing these paintings is the aritst’s use of sharply drawn line or outline that pulls the inchoate shapes and forms together with mastery and mystery.  Multiple styles and techniques jostle for primacy in Flood’s artistic language so that the viewer is regularly surprised and constantly engaged and expectant.
For an expansion of these ideas and more information you may attend a conversation between the authors Mary Conlon and James Merrigan in Green On Red Gallery on 30 Nov at 7pm.

26-28 Lombard Street East
Dublin 2
T: +353 1 671 3414 
BM Box 5163
United Kingdom
+44 (0) 870 922 0438