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Art : Concept presents Bardo Parade

Archive | Information & News

10 Feb 2017 to 1 Apr 2017
from 11 am to 7 pm
Opening: February 9th 2016, 5-8 pm
Art : Concept
4, passage Sainte-Avoye
(entrance 8, rue Rambuteau)
F - 75003
T: +33 1 53 60 90 30
F: +33 1 53 60 90 31

Eugene VON BRUENCHENHEIN, Untitled (Marie nude with swags of pearls), 1940s
tirage argentique, 25,4 x 20,3 cm / gelatin silver print, 10 x 8 in.
courtesy the artist and Art : Concept, Paris

Artists in this exhibition: Whitney Bedford

Press Release

Whitney Bedford, Bardo Parade, February 10 - April 1 2017

Art : Concept is happy to present the 4th solo show by Whitney Bedford – American
artist based in Los Angeles – featuring a new series of landscapes painted in oil and
ink on wood panels.

Often described as autobiographic, Whitney Bedford’s work can be compared to the
chapters of a diary, newly opened by the irruption of an event, either joyful or painful,
in the life of the artist. The theme of the shipwreck makes its first appearance in
2003, after a saddening break-up. On the opposite, in 2013 it is the firework - as
symbol of an explosion of joy and passionate love - that pervades the Love Letters
series. Nevertheless, the artist’s private life is more of a starting point, a source of
inspiration among many others, and the outcome is never anecdotal. While overcoming
the (vain?) attempt to reach a kind of creativity that is entirely freed from personal
experience, Whitney Bedford’s canvases largely overflow the frames of individuality.
They summon a fantasized and unattainable golden age, a mythical place where
everything seemed still possible. The theme of paradise lost, previously explored
in the 2008 Arcadia exhibition at Art : Concept and then again in West of Eden at
Susanne Vielmetter in 2015, is extensively investigated in its darkest aspects. At
first glance, the observer enjoys the pleasing, radiant and vividly colored landscapes
haunted by cactuses, palms and other vegetation. No doubts on their country of origin.
The Californian feel is palpable. Nevertheless, Whitney Bedford’s figures, outlined in
ink with an extreme precision (almost like photographs, but in negatives), seem to be
violently ripped off their monochrome, sleek, sunburned horizon to become unsettling
shadows. So are the titles: Good do Bad, The Rattler. The plants form a barrier. They
create a sort of insurmountable border that divides two worlds: calmness and chaos,
peace and trouble, beauty – as the source of joy and relief – and sublime – as the
source of an overwhelming emotion close to terror, quoting Edmund Burke’s definition.
The forests created by Max Ernst between 1927 and 1928 are not far away: absence
of perspective, frontal presence of the vegetal drawings, suspended temporality.
Both Bedford’s and Ernst’s forests are drawn by the common ambition to represent
a parallel reality, mysterious and ambivalent, perhaps that « surreality » so dear to
André Breton.

Transposed in Los Angeles after more than a century, Whitney Bedford’s «forests» or
jungles have something artificial in them. They stand for their own absence of volume;
they don’t try to create any illusion around their bi-dimensionality. Like set sceneries
or advertising billboards rising in the middle of nowhere, they impudently display the
shadows of this La-la-land.
Julia Mossé / translation Federica Italiano

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