|October 17, 2006||Drawing & Painting October 2006|
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Agency Contemporary, London
The Agency is pleased to present Canon, a group exhibition of emerging international painters who engage in a renewed reflection on modernism and will centre around an original Gines Parra from 1932, part of the Spanish School of Paris. Canon includes painters who work from European perspectives as well as those culturally rooted outside the European iconography.
The shifting context that has once again “allowed” the re-emergence of painting as craft is part of a broader realization that, in the digital age, the discussions that once informed conceptual practice and thoughts about representation are fully assimilated into mainstream practice and less pressing than they were 15 years ago. Freed from the imperative to engage with photography, film and the other digital means of producing images now so widely available that their use is no longer sufficient to constitute an artistic action in and of itself, artists are free to return to researching other means of constructing arresting images. And unsurprisingly, the new generation of painters will often look to the modernist languages that arose in the twentieth century to progress their painterly languages.
Read on...Agency Contemporary, London
Nohra Haime Gallery, New York
Carol K. Brown: Pedestrian
Carol K. Brown’s new series, PEDESTRIAN, on view at the Nohra Haime Gallery from October 11th to November 4th, consists of acrylic paintings on canvas and paper and a video animation that capture the lives of anonymous individuals who find themselves, unknowingly, under the scrutinizing eye of the artist.
Brown starts by taking photographs which become the source material that she then meticulously reproduces in paint.
“The painterly quality of the images, redefines the originals. There is a voyeuristic aspect to this activity because the subjects rarely realize they are being photographed.”
The people depicted in these paintings have become characters in an imaginary play. Against a stark white background, the intensely colored figures are replicated and arranged in groups according to Brown’s “manipulation”, thus creating relationships that never existed, but appear plausible, nonetheless. The artist explains: “As I wander streets I am often amazed at the delicious array of visuals amongst the ‘prosaic.’ The angle of the observed and the observer is constantly shifting. By segregating, duplicating and changing scale of my subject, I am setting up hypothetical relationships, both physical and psychological. My anonymous subjects lie squarely within the realm of the public, but in their isolation, underscored by the intense shadows and ambiguous spaces, they give off very personal, private vibrations.”
Read on...Nohra Haime Gallery, New York
Independents programme at the Liverpool Biennial 2006
Window Paintings : Brendan Lyons
Six windows on a derelict building in central Liverpool, have been converted into a series of six new paintings by Brendan Lyons, by applying sheets and strips of dried artists's paint to the various window frames.
"Glancing up at the 1st floor windows of a block of derelict buildings on Knight Street, the viewer may see a series of windows showing the effects of years of neglect. The window frames and glass have been ‘patched-up’ sometime in the past, using some adapted black bin liners and various parcel, masking, and hazard tapes. These too are now showing signs of deterioration, and hang precariously from their frames. However, on closer inspection, these apparent elements of tape and polythene, actually consist of dried sheets and strips of artists’ paint only. These sheets and strips of paint are attached to the wood frames and glass, resulting in six new paintings."
This exhibition is part of the Independents programme at the Liverpool Biennial 2006.
Brendan Lyons has exhibited frequently in recent years in London and UK. He was an exhibiting finalist at both the Jerwood Drawing Prize and Celeste Art Prize.
Read on... Window Paintings : Brendan Lyons, Liverpool
Spinello Gallery, Miami
Lou Laurita - YOU ARE OKAY
SPINELLO GALLERY, Formerly Red Dot Project (3436 N. Miami Ave., No.1, Miami Florida - 33127) is proud to present “YOU ARE OKAY,” the first Miami solo exhibition of LOU LAURITA, featuring poetic gouache paintings on paper, curated by ANTHONY SPINELLO.
Lou Laurita explains, “Our hearing or rather listening is selective. As we go through a day and hear parts of songs, conversations, and noises out of context, they become a part of our consciousness and trigger memory.” As Lou was sitting in a bar he overheard snippets of two different conversations, thus inspiring his newest body of paintings.
On one side of him were two men discussing the downward spiral of an acquaintance due to drug use, and how this attractive seemingly successful person had succumb to a methamphetamine epidemic within the gay community. They spoke about this person with concern and detachment describing his addiction and unsafe sexual practices as being fueled by body consciousness, alienation, loneliness and self- loathing. On the other side of him, a woman spoke to a man she had just met about her children, and how ungrateful they were for the lifestyle she and her estranged spouse had provided. She spoke about their ingratitude as being generational, in a society where it is assumed that parents should provide everything and seemingly nothing is earned. She turned to Lou and saw him writing in a book, and asked what he was doing. He told her that he was recounting his day in random thoughts, a way to wind down with a beer and bourbon.
Read on...Spinello Gallery, Miami
Emmanuel Post, Leipzig
Sebastian Rug - Drawings
If the world consisted of only one thread, by carefully following its course we could observe the formation of things. Drawing leaves traces.
Sebastian Rug's drawings begin in small events somewhere on paper, take shape as process and slowly reveal their final configuration. During the drawing process, the artist's attention is focused on watching an unknown object emerge at the interface between pencil and paper. His 'landscape' traces the distance the artist has travelled.
Rug is currently working on interrelated micro- structures, expressing both the regularity and irregularity of textures in balanced proportions. The resulting formations are rich in detail but strikingly random. Rug's minutae evoke the diffusion of the artist's aims as the sole agent. The sense of order in his drawings is not imposed but forms itself rather than an image. The bounds of sight not only mark the limitations of perception, but they also signify the impossibility of technical reproduction. Rug questions 'the drawing' as such as a medium of reproduction and communication. The fibrous texture of a drawing, for example, responds to flaws in the paper and contributes clarity and intensity. It is likely to recur at random and can be reminiscent of an old piece of papyrus.
Read on...Emmanuel Post, Leipzig
StART SPACE, London
Twin Obsession : Corinne Charton
Do we remember through photographs or do we remember through living? Corinne Charton’s new body of work investigates further the world of nostalgia as well as the individual’s perception of remembrance by reclaiming memories from moments frozen in time by the shutter of the camera while recreating somatic sensations using the traditional medium of oils as a paradigm for painting.
In an attempt to ascertain which part of us has been shaped by lived sensory experiences and what maybe an amalgam derived from events lived via mass media such as childhood iconology, she attempts to explore how memory itself can be manipulated. Photography plays an important part in her work, as she examines past photographs of her own childhood questioning the truth and authenticity frozen in a specific moment.
While placing nostalgia at the centre of her practice, Corinne does not allow its emotion to consume her paintings and instead uses nostalgia subversive qualities to underpin her own recollections while other sources of inspiration, such as photographs from a family album of a young couple with their twin boys, bought at a car boot sale, question further her own identity and existence – and that of others.
Read on...StART SPACE, London
Thomas Dane, London
Entitled Brilliant Corners after the classic album by Thelonious Monk - the exhibition consists of a series of new works - all using text as their central element. This use of text has been recurrent in the last fifteen years of Ligon's work, - most prominently in his painting. He borrows from diverse sources in literature, politics and popular culture to address issues of gender, race, history and sexuality.
Two coal-dust paintings - one with black text on a white ground and its larger black-on-black counterpart - incorporate passages of text stenciled in coal-dust and oil paint. The source of the text is the African American novelist James Baldwin's 1953 essay 'Stranger in the Village', in which he recounts the experience of being the first black man ever seen in a small town in the Swiss Alps.
Read on...Thomas Dane, London
Galerie Christian Lethert, Cologne
The artist (born 1978) studied with Lothar Baumgarten at the University of Arts Berlin. He graduated February 2006, being awarded the honour of a Meisterschüler.
The show is titled „Octave“, by definition the eight note of the diatonic scale, counted from the keynote: The tone has doubled the frequency of the fundamental tone. This range of notes all together is also described as an octave.
In analogy, the colour spectrum of visible light stretches from red to violet. Covering a frequency of approximately 4x1014 to 8x1014 Hz that could be seen correspondingly as an octave.
Entering the gallery space, the viewer is drawn into the spatial tension between the colours of two large- scale paintings (each 300x300 cm). Both are painted on half- translucent Organza fabric: One in dark, blunt red, the other one in violet. Both colours represent the boundaries of the visible colour spectrum and act as a portal for the exhibition. Continuing further and entering into the backspace, a third large-scale painting (300x300 cm) is shown in a purple tone. For that colour, no frequency can be found in the spectrum of white daylight. It is created by overlaying red and violet frequencies and shown as a result of combining both spectral colours of the entrance paintings.
Read on... Galerie Christian Lethert, Cologne
Alex Gene Morrison
Smooth swirls of abstraction clash with pixelated images. From children’s birthday cakes to rotting carcasses. A relentless flux of multi layered cultural references. Flipping from anxiety to ecstasy to melancholy to horror. A hypnotic aesthetic binds it all together; in keeping with modern societies seduction by a mass media that preys upon our increasingly voracious appetite for quick fix fulfilment.
Inevitably we end up narcotized, adrift in the void. An alternate space of the apocalyptically sublime erupts from the chasm. Destruction, evolution and survival loop round infinitely. A raging virtual primordial soup, both beautiful and rancid.
'Alex Gene Morrison takes a futuristic approach, his acid-punk paintings are slick with what looks like radioactive waste, toxic yellows and greens that slide off the canvas like slime.'
Jessica Lack, Guardian Guide, April 2005
Read on... Rockwell, London
Kashya Hildebrand Gallery, New York
PASSAGES : Jung-Yeon Min, Yichu Chen & Li Tianbing
Kashya Hildebrand Gallery is pleased to present a group exhibition featuring three Asian artists currently based in Paris, France. Jung-Yeon Min (Korea), Yichu Chen (Taiwan) and Li Tianbing (China) moved to Europe to pursue studies at the prestigious Ecole Nationale Superieure des Beaux- Arts in Paris. Their work is united by a common underlying dialogue between past and future, ancestral and contemporary, East and West. The artists have a shared experience of relocating from one distinct culture to an utterly new one and their work is an attempt to discover their own identity between the two cultures. In a state of personal limbo, the artists were inspired to invent a new, private world of magical landscapes and figures, to which they could belong.
Read on...Kashya Hildebrand Gallery, New York
Monika Sprüth Philomene Magers, Cologne
SONGS FOR LONELY GIANTS
The strategy of appropriation has been central to the art of Walter Dahn since the turning point in his artistic production in the years 1989/90. At that time, the artist turned away from pure painting as it was practiced by Baselitz or Lüpertz, for example. The individual and personal, which used to be reflected in Dahn’s expressive brushwork, would now manifest itself in his selection of pictorial motifs. For the artist, however, this does not imply the abandoning of painting. The arranging of color on a canvas has simply been replaced with the arranging of found objects on different materials, a process that Dahn once referred to as “conceptual painting” – a term he still uses today.
In this exhibition Walter Dahn displays his pictures and objects in showcases reminiscent of natural history museums.
Dahn treats some of his found objects like readymades, but often he transforms them, using different artistic techniques. Since the late 1980s, silkscreen printing has been one of his favored methods. The artist recontextualizes the technique by producing originals and applying a method initially designed for the high-gloss world of advertising to natural materials such as fabric, gauze, cardboard, felt or linen.
Read on...Monika Sprüth Philomene Magers, Cologne
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