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Blum & Poe : Matt Saunders - Neon in Daylight | Penny Slinger - 17 Apr 2014 to 10 May 2014

Current Exhibition

17 Apr 2014 to 10 May 2014
Hours -Tuesday - Saturday from 10:30 am to 6 pm
Blum & Poe
2727 S. La Cienega Blvd
CA 90034
Los Angeles, CA
North America
T: +1 (310) 836-2062
F: +1 (310) 836-2104

Matt Saunders - Neon in Daylight
April 17 - May 10, 2014

Artists in this exhibition: Matt Saunders, Penny Slinger

is pleased to announce
Matt Saunders
Neon in Daylight
April 17 - May 10, 2014
Opening reception: Thursday, April 17, 6-8 pm

Blum & Poe is pleased to announce Neon in Daylight, Matt Saunders' second solo exhibition at the gallery. The artist will present a new video installation and two distinct bodies of work featuring his cameraless photographic technique in which light is passed through painted linen or mylar onto photosensitive paper, producing unique works that utilize and implicate the process and appearance of paintings. 

In his most recent series, Saunders introduces the element of color, painting chromatic "negatives" and generating chromogenic prints through their exposure. Saunders obtains images from a variety of sources, including Joseph Cornell's collage film Rose Hobart (1936), constructed from re-colored scenes from East of Borneo (1931), a black and white film in which the title actress appeared. Saunders repurposes these scenes as sparsely colored, seemingly intimate portraits, destabilizing the given linear relationships between material and process, past and present. Complimenting the color works will be large black and white abstract prints. In this series, Sauders manipulated the chemistry, such as applying the developer in phases by hand, to explore "painting" gestures and to coax a color palette out of exclusively black and white materials. 

In addition to these works, Saunders will present King Hu / Reverdy, a multi-channel video installation that functions as a kind of inversion of Saunders' recent video Reverdy / King Hu. The so-called subjects are conflations of abstract compositions and animations with ink on Mylar, partially based on Chinese wuxia martial arts film director King Hu. In his use and disruption of appropriated stills and original compositions, Saunders touches on both the complicated relationship between materials and motion, and a kind of temporal flatness introduced to the experience of looking in the age of the infinite image archive. "Neon in daylight is a great pleasure," writes Frank O'Hara in his "lunch poem" A Step Away From Them, walking through Times Square with Pierre Reverdy's Poems in his pocket.

Matt Saunders (b. 1975, Tacoma, WA) earned his MFA at Yale University, and has had recent solo exhibitions at the Tate Liverpool and the Renaissance Society in Chicago. Selected recent group exhibitions include Cinema & Painting, Adam Art Gallery, Wellington, NZ; Test Pattern, Whitney Museum of American Art, New York, NY; The Anxiety of Photography, Aspen Art Museum, Aspen, CO; Sharjah Biennial 10, United Arab Emirates; Passageworks: Contemporary Art from the Collection, San Francisco Museum of Modern Art, San Francisco, CA; and Freeway Balconies, Deutsche Guggenheim, Berlin. Saunders lives and works in Berlin.


Penny Slinger
April 17 - May 10, 2014
Opening reception: Thursday, April 17, 6-8 pm
Blum & Poe is very pleased to announce British-born artist Penny Slinger's first solo exhibition in Los Angeles, bringing together collages from different eras and never-before-seen film footage. Slinger mined surrealism in the 60s and 70s to plumb the depths of the feminine psyche and subconscious, which led her to discover the tool kit of Tantra and to examine and express the more liberated realms of super consciousness.
During her studies at the Chelsea College of Art in late 1960s London, Slinger became interested in the world of dreams and myths which deeply influenced Slinger's own practice, as seen in her first book 50% The Visible Woman (1971). Using photographic collage and poetry, Slinger's lexicon of symbols examines how a woman is seen and how she sees herself--woman as goddess, woman as object of desire, woman as mother, and other lenses. The exhibition will include work from this important publication.  

In the late 1970s, Slinger used her own staged photographs to create hauntingly surreal collages for the series An Exorcism, which was set in an English Gothic mansion containing both male and female figures, including the artist. Slinger stated "the images and accompanying captions present a record of the 'unraveling' of the Self from dualistic limitations and the projections of others. It sets an example for psychic confrontation and transformation." These works illustrate a young woman's journey into higher consciousness--a theme Slinger would revisit in the sixty-four-part series Mountain Ecstasy (1978). In these collages, Slinger merges ancient Egyptian, sexual, and occult found-imagery to celebrate tantric alchemy and the divine feminine. For example, in Mountain of Mysteries, set against a starry sky, sphinx-headed women flank a pyramid and the moon. Suspended between the celestial and terrestrial, the works in this series frequently embody sacred, sexual energy. Slinger has explored the connection between eroticism, mysticism, feminism, and art for over forty years.

Penny Slinger has authored and illustrated numerous publications and has exhibited her work internationally, including in Lips Painted Red, Trondheim Kunstmuseum, Trondheim, Norway; The Dark Monarch, Tate St. Ives, St. Ives, UK; Angels of Anarchy, Manchester Art Gallery, Manchester, UK; Surrealism Unlimited 1968-1978, Camden Arts Centre, London, UK; XII Bienal de São Paulo, São Paulo, Brazil; Young and Fantastic, Institute of Contemporary Art, London, UK.
Blum & Poe  |  2727 S La Cienega Blvd.  |  Los Angeles, California 90034

T: 310. 836. 2062  |  F: 310. 836. 2104  |

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