re-title.com
  26 June 2008

re-title.com newsletter - Painting & Drawing June 2008  

 
Simon Lee Gallery, London
Sandroni Rey, Los Angeles
StART SPACE, London
See Line, Los Angeles
Galleri Nicolai Wallner, Copenhagen
 
 
Simon Lee Gallery, London

 
John M Armleder, Yankee Trader, 2006 
 

JOHN M ARMLEDER
SCRAMBLED AND POACHED

25 June - 29 August 2008

John M Armleder has played a vital role in shaping postmodern European and international art practice over the last 40 years. As a co-founder of the influential Groupe Ecart in the early 1960s he helped open up new ways of producing, exhibiting and, most importantly, experiencing contemporary art to a broad public. Armleder's work defies easy categorisation. Despite the influence of Fluxus attitudes and the artist's passion for the musical compositions of John Cage, Armleder's work has always resisted the manifesto, any form of theoretical attitudes or indeed, a social or political agenda.
 
The objects, installations, paintings, sculptures and performances created by Armleder in recent years have always been eclectic in their nature and appearance. Through playful compositions the presented objects are often completely divorced from any formal artistic concerns. The artist actively blurs the traditional notions of the support and the surface, of the subject and object and of high and low art. As such, he challenges customary ways in which the viewer has come to perceive and experience modern and contemporary art and the nature of the places that have come to be used for its display. Armleder's works are essentially pictorial in their compositions as they transcend the differences between decorative design and artwork. As a result, his work has always offered stirring modes of presentation whilst, at the same time, opening up the picture pane to include all its surrounding space.
 
"Scrambled and Poached" is symbolic of the multitude of possibilities open to the artist. In John Armleder's long awaited solo show at Simon Lee Gallery, sparkling Drip and Pour paintings are placed alongside regularly patterned canvases and the artist's signature furniture sculptures. The works are superimposed over wall paintings that stretch from the floor to the ceiling of the gallery and the exhibition space is again transformed in its entirety. Armleder creates an ensemble of different works from his repertoire and arranges them in the space to form a complete installation, thus demonstrating the activities that lie at the heart of his artistic practices and forming juxtapositions of familiar shapes and colours, in which the artist's canvas and medium successfully shrug off their accepted implications.
 
Born in Switzerland in 1948, Armleder now lives and works between New York and Geneva, where he continues to develop ideas and strategies for his work. He has had numerous one-person exhibitions in the USA and Europe, most recently at MAMCO in Geneva, The South London Gallery in London, the ICA in Pennsylvania and the Contemporary Art Museum in St. Louis. He has also been part of hundreds of group shows around the world and features in significant international collections, such as that of the Musée d´Art Moderne de la Ville de Paris, Centre Pompidou, Paris; Museum of Modern Art, New York; Kunstmuseum, Basel; Kunstmuseum, Zurich; Moderna Museet, Stockholm; Sammlung Ludwig, Vienna and Staatsgalerie, Stuttgart.
 
Image:
John M Armleder
Yankee Trader, 2006
Acrylic on canvas with plastic chains
200 x 200 cm, 78 3/4 x 78 3/4 in.

Courtesy of Simon Lee Gallery, London

Simon Lee Gallery
12 Berkeley Street
London
W1J 8DT
 
 
 
 
 
 
Sandroni Rey, Los Angeles
    
 
 Matty Byloos, Pineywoods Revisited, 2008
 
 
Matty Byloos
New paintings

June 21, 2008 - July 19, 2008

Sandroni Rey is pleased to present an exhibition of new work by Matty Byloos. This will be Byloos' first solo exhibition with Sandroni Rey.

Byloos' latest series, New Paintings, is inspired by the homes that were removed during the Los Angeles International Airport expansion that occurred during the mid-1970s. Byloos focuses on architecture; specifically of his native southern California and using a variety of source materials his paintings aim to capture the homes in a transitional moment.

Boarded up, vacant and completely drained of functionality, these homes allow Byloos to investigate ideas of photography's ability to reconstruct memory and how painting might be a more appropriate vehicle for representing the mercurial qualities of distant experience. Like a recycled vellum manuscript, Byloos' paintings embody the idea of a palimpsest. The homes no longer occupy any tangible architectural space, rather they exist as portraits of houses already lost to the past and have already been "scraped clean" for new use. Obscured by shadows and built up through suggestive layers, the paintings convey a ghostly and mysterious air: seen but nonetheless intangible. Furthermore, Byloos' paintings push this metaphor of architectural palimpsest into a more general sense of understanding the complex writing of Los Angeles' own architectural history and its constant revision rivaled against its own historical context.

Matty Byloos currently lives and works in Los Angeles. He received his MFA from ArtCenter College of Design in Pasadena, CA.

Image:
Matty Byloos
Pineywoods Revisited, 2008
Acrylic and prismacolor on mahogany panel
60 x 48 (152.4 x 121.9 cm)

Courtesy of Sandroni Rey, Los Angeles

Sandroni Rey
2762 S. La Cienega Blvd
Los Angeles, CA 90034
 
 
 
StART SPACE, London
 
 
 Nick Bowering, Fairsky, 2008
 

Departure
New Paintings and Assemblages by Nick Bowering


1st June - 13th July 2008

Nostalgia for impossible journeys, a treasure chest of vintage toys and the 'ghost' and 'dazzle' ships of two World Wars, Departure, Nick Bowering's new body of work is redolent with a sense of being 'born out of time'.

One starting point of Departure is the exploration of his parent's journey in 1963 as £10 Poms, when they followed thousands of other British couples who were given assisted passage to emigrate to Australia. Nick was born in Perth, Western Australia, two and a half years later. As a child was fascinated by the photographic slides of his family voyage back home on the Fairsky in 1966 when they returned to England. His new paintings are in part an evocation of that journey which Nick was too young to recall.

One vivid childhood memory is when his father came home with a battered leather case filled with toys and a train set. It was typical of his father to keep small treasures in boxes and old tobacco tins for safe-keeping. The 'boxing and encasing' elements of the new work investigate this wish to 'preserve the precious'.

Nick has also begun to explore the extraordinary roles ocean liners performed in two World Wars in his assemblages based on the 'ghost' and 'dazzle' ships. The liner Queen Elizabeth became the 'Great Grey Ghost' when she was used as a troop carrier during World War II and she is one of the many models Nick has worked from for this series. Using dramatic cropping and elevated viewpoints, Departure also explores the romance of travel, the inherent deception of model-making and the ambiguity of memory.

Nick Bowering attended Camberwell School of Art (1982-86) where he received a BA Hons in Illustration and has also studied lithography and photography. He has exhibited widely (London, New York, Dublin, Glasgow and Miami) and has work in private collections, from BP Oil to the Science Museum. Cunard recently purchased a series of ocean liner paintings for their latest ship, Queen Victoria.

Image:
Nick Bowering
Fairsky, 2008

Courtesy of StART SPACE, London

StART SPACE
150 Columbia road
London
E2 7RG
 
 
 
  
 
See Line, Los Angeles
 
 
 Ami Tallman, Jean-Bédel, Bokass Central African Empire, 1977 (2008)
 
 
Ami Tallman
When the Sun Shines, It Does Not Need Proof

21 June 2008 to 26 July 2008

See Line Gallery is pleased to present Ami Tallman's first solo exhibition, When the Sun Shines, It Does Not Need Proof.

This body of work by Ami Tallman muses on the shared qualities of gurus and dictators, in particular the aesthetic devices used by both to inspire awe and ecstatic devotion amongst their followers. Tallman's practice draws on images and phrases culled from idiosyncratic research. As she sought materials for this show, Tallman observed a recurrence of charismatic leaders in the 20th century who employed extravagant and sophisticated spectacles to create new, insular societies comprised of fiercely committed followers. The movements these men created usually slipped into violence and paranoia, ending in purges of their inner circles, scandal, and dissolution.

With a lush use of color, Tallman's use and choice of materials is promiscuous. She combines colored pencil, oil, and ink with other materials, on a wide range of surfaces, yielding a tactile variation which echoes her subjects' shifts from beatific to vengeful, doting to aloof, delphic to precise. Her work is tinged with foreboding, and both broods and frets on themes of power, hope, bliss, and betrayal. Her whimsical line slips into doubt, its cheer faltering as it encounters gaps on the page. The resultant series of images includes depictions of pageants, expectant throngs, blissed out hippies, banks of microphones, banner-lined streets, shrines, thrones, and of course, gurus and dictators.

Ami Tallman lives and works in Los Angeles. She completed her MFA at Art Center College of Design in 2006. She has exhibited in Los Angeles, New York, and San Francisco and was featured in "15 Artists Under 35" in the May 2008 issue of Art ltd magazine. Tallman was most recently included in Against the Grain, a group show at Los Angeles Contemporary Exhibitions that runs concurrently with this exhibition.

Image:
Ami Tallman
Jean-Bédel, Bokass Central African Empire, 1977 (2008)
colored pencil on polypropylene, 9 x 12 in

Courtesy of See Line, Los Angeles

See Line
1812 Berkeley Street
Santa Monica
Los Angeles, CA90404
 
 
 
 
Galleri Nicolai Wallner, Copenhagen
   
 
 Glenn Sorensen, Low Tide (2008)
 
  
Glenn Sorensen
Black Paintings


June 13 - July 26 2008

It is a great pleasure for Galleri Nicolai Wallner to present Black Paintings, an exhibition with new works by Glenn Sorensen.

Glenn Sorensen finds his motifs in his direct personal environment; two people standing on the beach or an empty can holding a flower.

The figures in the paintings are often placed slightly off centre, half cut off by the edge of the canvas, giving the works an immediacy of a snapshot or a quick glance. Often repeating the same scene more than once, seeing it from different angles or making minute changes, the artist seem to have an almost meditative approach to painting. Sorensen works figuratively but also pushes his images towards a two-dimensional abstraction. Shapes are slightly blurred as if moving in front of your eyes and a real sense of perspective is distorted by the empty space the figures seemingly inhabit.

The colors employed are dreamy and drowsy, rendered in lush shades of lavender, pink and light turquoise on a dark background that drains the vitality of the delicate figures set against it. The contrast between light and darkness creates unnatural phosphorescence, a peculiar, sleepy way of seeing the world. This look is only further enhanced by the blissful domesticity of the motifs. Like the opaque remnants of a dream they play with your senses and linger in your mind long after you have experienced them.

A feeling of weariness marks this series of portraits and household still-lives. A certain melancholy that is reflected in the various titles with which Sorensen describes his work; Sick, Dented and Waiting. Also in the actual size of the paintings the artist steers away from the grandiose. Instead the works appear small and intimate as they hang sparingly in the white gallery space. They resemble small windows or perhaps even exclamation marks as the rigorousness of the composition and the consistent use of the same colors somehow seem to belie any reading of the works that focus on their smallness and delicacy. It looks like the artist has managed to find strength in weakness, giving his paintings a mysterious aura that inevitably attracts the attention of the viewer.
 
Also showing at Galleri Nicolai Wallner:
JuJu White Magic, a new video work by Danish artist Gitte Villesen

Image:
Glenn Sorensen, Low Tide (2008)
Oil on canvas
37 x 42,5 cm

Courtesy of Galleri Nicolai Wallner

Galleri Nicolai Wallner
Njalsgade 21, Building 15
DK-2300 Copenhagen
Denmark
 
 
 
 
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July 2-3 Sculpture & Installation
July 10-11 - Photography & Multi-Media
July 17-18 - Painting / Drawing
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