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Feuer/Mesler presents Roger Herman - Keramik | A Pointed Remark

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7 Jan 2017 to 5 Feb 2017
Open Tuesday – Saturday 11-6
319 Grand Street, 2nd Floor
New York, NY
New York
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Roger Herman, TBT, 2016.
19 x 8 inches.

Artists in this exhibition: Roger Herman, Betty Bailey, Andrew Brischler, Nick Payne, Mason Saltarrelli

Roger Herman

Exhibition dates: January 7 - February 5, 2017

Reception for the Artist: Saturday, January 7, 6-8 pm

Feuer/Mesler is pleased to present an exhibition of ceramic work by Roger Herman.

This body of work rejects traditional ideas of pottery by embracing a duality of forces and employing opposing ideas in each piece: intention & chance, painting & sculpture, figuration & abstraction. A trained painter and esteemed UCLA professor, Herman has created his own idiosyncratic world where these dualities don’t compete but elevate and continue the discussion of what it means to make art in this century.

This interaction between painting and ceramics asserts that painting doesn’t always have to happen on a canvas, or even a flat surface. Herman began his ceramic work after he had already established his painting practice, and each mode of art making informs the other equally. The wax resistance & underglazing techniques that he employs clearly recall gestural figuration; they are never uniform or simply decorative like tableware. Every vessel asserts their individuality and each piece stands alone—some are pure abstraction, exaltations of color; others are clearly faces or bodily forms. At times these figures can recall both Japanese manga and the etchings of the 15th century master draughtsman Hans Baldung Grien, a student of Dürer whose initials Herman will sometimes incorporate into the composition. A third group of vessels slip in and out of referential mark making and recall the automatic mark making of surrealists, with a nod to the anti-paintings of Miro. Making no effort to hide the presence of the artist’s hand, paint strokes can feel expressionist and emotional. The artist manages to achieve a feeling of intentionality while at the same time emphasizing chance and the subconscious mind. The physical forms extend the presence of the artist’s hand—they are asymmetrical, lopsided and imperfect, making them feel highly personal.

Roger Herman was born in Saarbrücken, Germany and received his MFA from Akademie der Bildenden Künste in Karlsruhe in 1975. Solo exhibitions include Richard Telles Fine Art, Los Angeles; George Lawson Gallery, San Francisco; Susanne Vielmetter, Los Angeles; Ace Contemporary Exhibitions, Los Angeles and New York; Larry Gagosian Gallery, Los Angeles; the Santa Monica Museum of Art; Museo del Arte Contemporana, Mexico City; and LACMA; among others. His work is included in many public and private collections including the Denver Art Museum; the Hammer Museum,; Los Angeles County Museum of Art; the Museo del Arte Contemporanea, Mexico City; the Museum of Contemporary Art, Los Angeles; Museum of Modern Art, San Francisco; and the Walker Art Center, Minneapolis. He currently lives in Los Angeles and is the head of the Painting Department at UCLA.


A Pointed Remark: Betty Bailey, Andrew Brischler,
Nick Payne and Mason Saltarrelli

Exhibition dates: January 7 - February 5, 2017

Reception for the Artists: Saturday, January 7, 6-8 pmFeuer/Mesler is please to present A Pointed Remark, featuring colored pencil works by Betty Bailey, Andrew Brischler, Nick Payne and Mason Saltarrelli.

Betty Bailey (b. 1939) creates figurative drawings of seemingly everyday life, that upon closer look have humorous riffs on these moments. A group of elderly adults gather in a circle smoking at “Medical Marijuana Manor,” six fire-haired women run in organized rows while in the nude and naked men gather to create portraits of each other in a life drawing class. Bailey has no formal training in drawing and the result is folk art styled imagery with odd perspectives and figures. She works using memories of people and places mixed with invented situations.

Andrew Brischler (b. 1987) works on panel and paper to produce richly colored text and abstract works. Using references of his own life, art history and pop culture, Brischler examines the lineage of color and form and the power of text. From song lyrics, to film quotes to words or sentiments personal to the artist, the text provides insight into modern life and cultural history. Covering entire surfaces with colored pencil pigment, the works are incredibly labor intensive, evident from the mark making a viewer can observe when up close to the pieces. Brischler’s work is intentionally battered and awry, stray marks and lines permeate the surface, giving the viewer insight into the artist’s process. This method of production gives the final works a duality between the image that is viewed from afar as a vibrant, clean-lined pop image and the work up close that reveals the process of production.

Nick Payne (b. 1982) develops warped scenes with strange characters that vary between human and beast. Payne’s work is haunting and foreboding while also maintaining an underlying element of humor. Red ants attack a deformed gentleman while picking up a coin, a pointy nose villain sculpts a live figurine, or a baby vacillates between demanding more milk and using his bottle as a weapon. These odd scenarios and alternative universes from Payne’s imagination present clues that leave the viewer to complete the story line.

Mason Saltarrelli (b. 1979) presents works on paper and panel. His drawings on paper begin with soaking the paper in a plant based liquid mixture that adds a patina and becomes an aesthetic element of the work. The drawings play between abstraction and figuration—a beautifully rendered composition presents an alligator intertwined with a kachina doll while also paying homage to color blocked abstraction. Saltarrelli creates dynamic works that reference symbols from history, religion and his personal life.

319 Grand Street, 2nd Floor
New York, NY 10002


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