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White Columns: APRIL EXHIBITIONS + PROJECTS - 3 Apr 2008 to 2 May 2008 Current Exhibition |
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Peter Gallo, Entartete Kunst, 2007
Oil, spray paint and egg shells on bed ticking Private Collection; courtesy of the artist and Sunday L.E.S, New York |
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THE BULLETIN BOARD DEREK SULLIVAN GALLERY UPDATE ANTHONY CAMPUZANO CARTER JENNIFER COHEN PETER GALLO TAMAR HALPERN COLTER JACOBSEN LARS LAUMANN SARAH ANN LOBB MITZI PEDERSON EILEEN QUINLAN JOHN STEZAKER WHITE ROOM DON BACHARDY � ONE DAY STANDS WHITE ROOM KRISTAN HORTON PROJECT OTHER PEOPLE�S PROJECTS: THE OTHER GALLERY, WINNIPEG RICHARD WILLIAMS The Bulletin Board Derek Sullivan The seventeenth presentation in White Columns� project space The Bulletin Board � a 6� x 4� glazed aluminum bulletin board installed in our entrance lobby � is by the Toronto-based artist Derek Sullivan. Ostensibly a presentation of nine publications Sullivan�s project is consistent with his ongoing investigations into the entangled histories � and legacies � of modernism, design, art history (in particular conceptual art), and various manifestations and forms of popular culture. Dan Adler, a Toronto-based writer, recently observed: �As with much of Sullivan�s oeuvre to date, the viewer can derive satisfaction from the process of striving to detect the multitudes of subtle allusions to graphic art-history present in the work, as well as its faint suggestions of high-modernist design, slight invocations of pioneering abstraction and indirect references to the history of conceptual art, among other themes.� The group of nine publications on display at White Columns were produced using revolutionary �print on demand� technology. Created by Sullivan these titles are presented as if academic specimens on display in the faculty lounge of a college or university. Denied access to their contents we can only make connections based on what is visible. Ranging from a Toronto-area record store�s recreation of Jeff Wall�s �Destroyed Room�, as it appeared on a Sonic Youth album sleeve; to images of the original rainbow-painted entrance to a Toronto-area tunnel immortalized in paintings by Peter Doig; to an unlikely alliance between Robert Smithson and The Cure�s Robert Smith; and much more besides, Sullivan�s installation establishes a scenario whereby we have no choice but to �judge a book by its cover.� Over time the books will become available via the �print on demand� site www.lulu.com. The technology allows for the content of the titles to be under continual revision, creating an unlimited edition publication that is in perpetual development. Derek Sullivan (b. 1976) lives and works in Toronto. He studied at York University, Toronto (BFA 1999), and the University of Guelph (MFA 2002). Solo exhibitions include Galerie Florence Loewy, Paris (2008); Southern Alberta Art Gallery, Lethbridge, Canada (2008); Jessica Bradley Art + Projects, Toronto (2007); amongst others. Group exhibitions include: �Citizen, Denizen, Resident�, Tatjana Pieters/One Twenty Gallery, Ghent, Belgium (2008); P2P, Casino Luxembourg (2008); Gasoline Rainbows, Vancouver Art Gallery, Vancouver (2007); �We Can Do This Now�, The Power Plant, Toronto (2007); amongst others. The Bulletin Board series is generously supported by Corrie Sandelman. Gallery UPDATE New work by: Anthony Campuzano, Carter, Jennifer Cohen, Peter Gallo, Tamar Halpern, Colter Jacobsen, Lars Laumann, Sarah Ann Lobb, Mitzi Pederson, Eileen Quinlan, John Stezaker. White Columns is proud to present �Update� an exhibition of recent works by eleven artists who have participated in White Columns programs during the past three years. The current �Update� exhibition was informed by White Columns� annual �Update� exhibition series which ran for many years beginning in the mid 1980s. The original �Update� exhibitions provided an opportunity for White Columns to re-privilege and re-contextualize the work of artists who had received significant support and early exposure at the gallery. The current �Update� exhibition brings together new works � produced in the past year � by artists who showed at White Columns between 2005 and 2007. (In most cases their initial show at White Columns was their first individual or two-person exhibition in New York.) Anthony Campuzano had a solo �White Room� exhibition at White Columns in June/July 2005. White Columns� introduced Carter�s work at the 2005 Armory Show. He subsequently had a solo �White Room� exhibition in May/June 2005. Jennifer Cohen had a solo �White Room� exhibition at White Columns in February/March 2005. Peter Gallo had a solo �White Room� exhibition at White Columns in May/June 2005. Tamar Halpern had a solo �White Room� exhibition at White Columns in March/April 2007. Colter Jacobsen made an individual installation at White Columns in October/December 2005 as a part of the exhibition �Open Walls� � a series of six autonomous projects. Lars Laumann had a solo �Project Room� show at White Columns in February/March 2007. Sarah Ann Lobb had a solo �White Room� exhibition at White Columns in September/October 2006. Mitzi Pederson had a solo �White Room� exhibition at White Columns in June/July 2006. Eileen Quinlan had a two-person show at White Columns with Elena Pankova in February/March 2006. John Stezaker had a solo �White Room� exhibition at White Columns in February/March 2006. (Prior to his 2006 White Room, Stezaker�s only previous exhibition in the USA was in 1981, also at White Columns.) Over the past three years, since the arrival of current Director Matthew Higgs, White Columns has presented then work of more than 350 artists in more than 100 individual exhibitions and projects. In the future we will host �Update� exhibitions every three years. The eleven artists in the present �Update� exhibition are currently based in Philadelphia, New York, Hyde Park (VT), San Francisco, Oslo, and London. White Room Don Bachardy � �One-Day Stands� White Columns is pleased to present the first New York solo exhibition in more than thirty years by the Los Angeles-based artist Don Bachardy. Jointly organized by Tod Lippy, editor of ESOPUS magazine, the show includes thirty recent drawings of male nudes, selected from the many hundreds Bachardy has worked on in recent years. Drawn from life, Bachardy�s drawings - when seen together - function almost as a �journal�: an often melancholic visualaccount of Bachardy�s sustained, daily interactions, and engagements with his sitters. About this dialog Bachardy has written: �I used to believe that my habit of intense, sustained effort without pre-planning or breaks was necessitated by my insistence on working from life and trying to still the fleeting moment. But lately I have come to realize that this insistence itself has a deeper, more complicated source. My method of work is an expression of my own peculiar psychological make-up, of my need to challenge myself and my sitter (to add a dash of sadism to my masochism�always spicier when the two are combined and shared) with my stringent demands on the nerves, patience, and stamina of us both. Stretching them to extremes and beyond increases my desire to penetrate further into the dense realm of hard peering. And the circumstance itself�two people sitting alone for hours on end, sometimes looking long and deeply into each other�s eyes as the day�s light fades... I know of no other experience in life that matches it.� A new issue of White Columns� xerox publication �The W.C.� featuring an extensive introduction by Bachardy and an illuminating essay by James White, Executive Director of the Christopher Isherwood Foundation, will be available from the gallery, price $1. Don Bachardy (b. 1934) lives and works in Los Angeles. Don Bachardy began drawing as a child in Los Angeles, and by his teen years he already had specialized in portraits, partly attributing his interest in people to his passion for the movies. While a student at UCLA in 1952, Bachardy met the writer Christopher Isherwood, and the two men began a relationship that lasted until Isherwood�s death in 1986. It was Isherwood who encouraged Bachardy to pursue a formal art education, and he studied at the Chouinard Art Institute in Los Angeles and at the Slade School of Art in London. Bachardy�s portraits are always completed in one session that may last from two to six hours, and they are signed by the sitter. �For more than 35 years I have obeyed my early, instinctive urge to complete each work I do in a single sitting,� Bachardy says. �The departure of my sitter is like the breaking of a spell. I never alter any detail of the work I�ve done once the sitting has ended.� Bachardy�s first solo exhibition took place at the Redfern Gallery in London in 1961. His work resides in the collections of the Metropolitan Museum of Art in New York, the M.H. de Young Museum of Art in San Francisco, UCLA, the Huntington Museum, the Fogg Art Museum of Harvard University, Princeton University, the Smithsonian Institution, and the National Portrait Gallery in London. Seven books of Bachardy�s works have been published: October (in collaboration with Christopher Isherwood 1980); One Hundred Drawings (1983); Drawings of the Male Nude (1985); 70 X 1 (1983); Last Drawings of Christopher Isherwood (1991); and Short Cuts, The Screenplay (1993), and Stars in My Eyes (2000.) White Room Kristan Horton White Columns is pleased to present the first New York solo exhibition by the Toronto-based artist Kristan Horton. Using a hybrid form that juxtapose improvised sculpture, haphazard set building, and low-tech animation, Horton�s works explore the fundamental pleasures of making, un-making, and recreating. For his New York debut Horton will present his virtuoso single channel, stop-frame animated film �Cig2Coke2Tin2Coff2Milk� (2006), in which everyday objects � including a du Maurier cigarette packet, a Coca-Cola can, a sardine tin, a coffee cup, and a milk carton � are transformed - through a decidedly low-tech, yet highly self-conscious animation process - into new objects. Writing about �Cig2Coke2Tin2Coff2Milk� in 'C Magazine' Yam Lau observed: �The work can be appreciated as an instructional how-to sequence. At the same time it makes its animating movement palpable: a kind of structural morphing out of which novel forms and processes continually unfold. It is not only the inherent forms of objects such as the box and the cylinder but also their associated corporate identities (du Maurier and Coke) that are being morphed into one continuous movement. The duration of this movement is the subject of the animation. Within this process the intervals or stutters inherent to the stop-motion method help to facilitate new connections. These gaps signal the unforeseeable folds or wrinkles within what might otherwise appear to be a linear narrative. They are pockets that produce reserves out of which unforeseen connections and identities can appear. For example, a paper Coke can still bearing a du Maurier logo suddenly becomes within the interval of a new frame a tin one with the real Coke logo.� Kristan Horton lives and works in Toronto, Canada. He studied at the University of Guelph (1990-92) and the Ontario College of Art & Design (1993-96). He has had solo exhibitions at The Contemporary Art Gallery, Vancouver; Art Gallery of York University, Toronto; Jessica Bradley Art + Projects, Toronto (all 2007); YYZ Artist Outlet, Toronto (2006); Mercer Union, Toronto; Wynick/Tuck Gallery (both 2005). His work has been included in numerous group shows including: �Self-Storage� (Curatorial Industries, San Francisco, 2008); �Signals In The Dark� (Blackwood Gallery & Justina M. Barnicke Gallery, Toronto, 2008); �We Can Do This Now� (Powerplant, Toronto), amongst others. In 2007 the Art Gallery of York published Horton�s book: �Dr. Strangelove Dr. Strangelove.� �Other People�s Projects� The Other Gallery, Winnipeg presents: Richard Williams Other People's Projects is an occasional programming strand at White Columns, in which we offer our project space to idiosyncratic organizations, collectives, publishers, individuals, etc. to introduce their activities and/or enthusiasms to a wider audience. The Other Gallery�s presentation of Richard Williams� drawings is part of an ongoing collaboration between the two organizations following White Columns� presentation of Other Gallery�s founder Paul Butler�s work in 2006, and our subsequent screening of collaborative films by Winnipeg artists Jeff Funnell and John Will in 2007. The Other Gallery will present Winnipeg-based artist Richard Williams� (b. 1921) suite of drawings �The Naked Block Party� (1997-2000). Produced when the artist was in his late seventies the drawings depict scenes from an imagined suburban-bacchanalian block party. In an introductory statement to the work Williams stated: �Early in the summer of 1997, letters to the Free Press argued both sides of the Ontario Court�s controversial topless decision. I amused myself by commenting on some of the letters in my drawings. As the controversy continued, many writers revealed a yearning to go beyond toplessness. They argued that total nudity would be better for us, mentally as well as physically. I tried to imagine life in a naked community. I asked myself �What if somewhere in our Winnipeg suburbs there were an affluent middle-class group who agreed to organize a Naked Block Party?� Given that we North Americans are, as Sallie Tisdale says, in our �cultural puberty: lewd, leering, intensely curious and ashamed and prudish all at once�, the images that sprang up were poignant, and each carried with it the promise of more to come.� Richard Williams (b. 1921) is Director Emeritus of the University of Manitoba School of Art. Born in Pennsylvania, he became a Canadian Citizen in 1969. He studied sculpture at Carnegie Mellon University, and Printmaking at the University of Iowa. He served in the U.S Army Air Force for three years, painting mascots on the noses of bombers during his spare time. He moved to Winnipeg in 1954, and held the position of Director of the University of Manitoba School of Art for more than twenty years. Williams has shown his work across Canada and the United States for more than sixty years. �The Naked Block Party� was shown at Winnipeg�s Art Collectors Club in May/June 2000. |
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