Blum & Poe : Julian Hoeber - All That is Solid Melts into Air - 6 Sept 2008 to 18 Oct 2008
Julian Hoeber, Your Body is a Battleground *working title, 2008
Acrylic varnish, sumi ink, graphite, acrylic paint, gouache and color pencil on paper
53 x 42 inches. Courtesy of the Artist and Blum & Poe, Los Angeles . Photo: Joshua White
All That is Solid Melts into Air
September 6 - October 18, 2008
September 6, 2008 6 - 8pm
This new body of work is an old tattered body. Totally classical forms. Forms that keep threatening to die. And even if they survive, they are sullied with the look of death. Hence bronze figurative sculptures riddled with bullet holes. Hence optical art mashed together with trompe l'oeil painting with psychology pushing through the surface like the ribcage of a decaying corpse.
I don't think of myself as a whole and unique identity. I do however consider myself to be a very specific location through which a unique set of ideas, experiences, feelings and influences pass. The best model of a person is a tube. Stuff goes in and stuff comes out. A lot of stuff has gone into me over the years. A mashed together version of all of it is what I try to squeeze out.
So the stuff that went into my tube: Bridget Riley, Camille Claudel, Judy Chicago, Valie Export, Barbara Kruger, Roy Lichtenstein, Thomas Eakins, Arthur Fellig, Christopher Wool, Sterling Ruby, DJ K-Swift, Santogold, Melanie Klein, Cy Twombly, Hermann Nitsche, Chris Vasell, Lucio Fontana, Paul Cezanne, Mark Quinn, Nate Lowman, Barnett Newman, Elaine and Saul Bass, Giulio Questi, Herschell Gordon-Lewis, Jean-Luc Godard, Paul McCarthy, Jim Shaw, Niki de Saint Phalle, Jesus Rafael Soto, Kori Newkirk, Jasper Johns, Kenneth Noland, Cady Noland, Tony Tasset, John Stagliano, Diplo, F. X. Messerschmidt, Tony Cragg, Alfred Hitchcock, David Simon and Ed Burns, Lucian Freud, Sigmund Freud, John Cassavetes, Robert Bresson, Vito Acconci, Harlod Brodkey, Mike John, Sasha Grey, M.I.A, The Minutemen, Marina Abramovic and Bruce Naumann.
I could go on. And on. But the thing is the forms I love most are those old ones. And the first thing that ever fed my tube was my mother, she the child of card-carrying members of the communist party, and my father a bureaucrat who was also an actor in the theatre. He practiced two arts one of fighting stasis and one that is dead. I am in this sense a relic--one that believes in old forms and old ideas, or at least was inundated with them. And those forms and ideas are dying. I'm not gonna fight it too hard. But I will be true to the tube that I am. I was once told by a raw food nutritionist that if you eat live things you will be full of life. If you eat dead things...well you can figure it out.
If there's anything that I’ve properly digested, it's post modernism, that silliness. The pastiche of references that once was the center of art making had as its subject matter the very act of pastiche. David Salle's work was empty except for the fact of the conglomeration of things that he smashed together for no good reason. For those whose stock and trade was the readymade, from Duchamp to Koons, the subject matter was the absurd gesture of appropriating an industrial object. But at a certain point sculptors of my generation realized that Koons' basketballs were no more remarkable for the fact that they were appropriated than Judd's plexiglass and stainless steel angle iron. The product of an anonymous manufacturer is whatever. Basketballs and urinals are just more material. At a certain point I think art works started to take on this quality of anonymous product. I'm not referencing Bridget Riley in my work any more than Judd was referencing the industrial designer who developed the process by which aluminum rod is extruded. I've eaten up all that dead stuff. Cooked it. Chewed it up and made some shit out of it. I've chewed up history, digested it and pushed out something which although stinking a little of death, has a certain whole synthesized, digested quality. And like the any other shit, you could find more different strands of DNA in it than in its producer.
- Julian Hoeber
Blum & Poe is pleased to announce our third solo exhibition of Los Angeles based artist Julian Hoeber. The exhibition will include two new bodies of work, the first a series of fifteen works on paper that continue Hoeber’s investigation of psychology and nausea through perceptual tricks. Hoeber will also present a series of ten unique bronze-cast heads, a darkly humorous and absurd evolution of classical sculptural busts that have been shot, beaten and bitten.
Prior to earning his MFA from Art Center College of Design, Julian Hoeber attended the Karel deGrote Hogeschool in Belgium and received degrees from the School of the Museum of Fine Arts Boston and Tufts University. Hoeber has exhibited internationally, a recent selection of venues include Parc St. Leger Art Contemporain, Pougues Les Eaux, France; LACE, Los Angeles, CA; Deste Foundation Centre For Contemporary Art, Athens Greece; Today Art Museum, Beijing, China; and Emily Tsingou Gallery, London.
Philadelphia, Pennsylvania, 1974
Art Center College of Design, Pasadena, CA, M.F.A.
School of the Museum of Fine Arts, Boston, MA, B.F.A.
Tufts University, Medford, MA, B.A. in Art History
Karel deGrote Hogeschool, Antwerp, Belgium
Lives and works in Los Angeles, CA
The Armory Show, New York, NY
Galleria Francesca Kaufmann, Milan, Italy
Talkers are No Good Doers, Blum & Poe, Los Angeles, CA
Essor Gallery, London, UK
Killing Friends, Blum & Poe, Santa Monica, CA
Parc St. Leger Art Contemporain, Pougues Les Eaux, France
Against the Grain, LACE, Los Angeles, CA (curated by Christopher Russell)
Panic Room - Works from The Dakis Joannou Collection, Deste Foundation Centre For Contemporary Art, Athens Greece
Today Art Museum, Beijing, China
Trudi: No Jerks, Rental Gallery, NY (curated by Catherine Taft and Matthew Chambers)
Dark Places, Santa Monica Museum of Art, Santa Monica, CA
A Selected State, Emily Tsingou Gallery, London
JSA (Jim Shaw’s Army), Rental Gallery, Los Angeles, CA
many, many guys and girls, all real beauties, Circus of Books Gallery, Santa Monica, CA (curated by Julian Hoeber)
The Wonder and Horror of the Human Head, 4F, Los Angeles, CA
Very Early Pictures, Luckman Gallery, California State University, Los Angeles,
CA, 21 May – 24 July; Arcadia University Art Gallery, Philadelphia, PA
2004: Planet B: The Aesthetics of the B-Movie, Palais Thurn & Taxis and Magazin4, Bregenz, Austria (cat.)
Zai Shoku Ken Bi -Art & Money, Base Gallery, Tokyo, Japan (cat.)
Blum & Poe, Los Angeles, CA
Premiere, A Gavlak Projects Production, New York, NY
I See a Darkness, Blum & Poe, Santa Monica, CA
Morbid Curiosity II, I-20, New York, NY (curated by Jan Tumlir)
Morbid Curiosity, Los Angeles, CA (curated by Jan Tumlir)
Vivisection Diaries/Playing Dead and Other Work (with Jacqueline Cooper), jennjoygallery, San
Blood & Fog, with Tom Allen at ACCD Graduate Studios, Pasadena, CA
Face to Face, The Stage Gallery, Merrick, NY
Intro, jennjoygallery, San Francisco, CA