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Nohra Haime Gallery, New York |
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ALVARO BARRIOS: DREAMS ABOUT MARCEL DUCHAMP +
FREE POPULAR PRINT
18 Nov 2008 to 24 Dec 2008
"What we call "pictorial style" is something
belonging to the past, it is that antiquity that we refer to
as "Modern Art" and whose death certificate was issued by
Minimalism and Conceptual Art."
-Alvaro Barrios
"My relationship with Duchamp's work is not intended
as a homage but as a pretext to emphasize my distance from
what is conventional, the conservative positions regarding art
and life itself that are what finally defines the Duchamp
myth. I'm not obsessed by Duchamp or any other icon. What I am
trying to do is to tell a history of art not the way it
happened but the way I would have liked it to happen. The
comics iconography - seemingly taken from the Pop - is just a
pair of gloves to grab a hot pot, much closer to the
conceptual and its derivatives."
-Alvaro Barrios
The exhibition DREAMS ABOUT MARCEL
DUCHAMP, comprises fourteen large-scale paintings and
five works on paper dealing with Barrios' fascination with
Duchamp. Alvaro Barrios is known for his
heterogeneous compositions, much influenced by Surrealism, Pop
art and Conceptual art. In assimilating and adapting the
lessons of these Twentieth Century art movements in his own
personal and innovative manner, the artist creates a unique
aesthetic style, which manifests in the realm of fantasy.
Barrios draws upon the comic book popular culture theme by
outlining his cartoon-like figures with bold black outlines,
including text in his compositions and employing flat vivid
colors.
Appropriating imagery that illustrates the influence of
Marcel Duchamp, Barrios creates an ambitious mélange that
results in playful and original art. In the painting This Work
is Already a Part of My Life, 2008 (59 x 59 in), the artist
presents a scene in a movie theater, where the comic strip
character Clark Kent watches a motion picture next to his love
interest Lois Lane. "Clark, don't you think your passion for
Marcel Duchamp is going too far?" asks Lane. Kent, who
preciously holds in his lap a replica of Duchamp's famous
porcelain readymade urinal titled Fountain (1917), responds,
"this work is already a part of my life, Lois! I'll always be
with it!" Constant references to the French artist in
Barrios's work are used as "a pretext to talk about my
distance from the conventional, and everything that signifies
conservative positions in art and life, which ultimately, is
what Duchamp's myth represents," explains the artist. Thus, in
employing fiction characters and distinctive pieces and
personalities of modern art in an unconventional context,
Barrios challenges the imagination and the conscience of the
spectator. It is the paradoxical subject matter and creative
adaptation of his compositions that gives his work a humorous,
yet clever and mysterious quality.
Born in Cartagena, Colombia in 1945,
Barrios attended the School of Fine Arts of
the Universidad del Atlantico in Barranquilla, Colombia. He
later studied in Italy at the Università di Perugia and in la
Fondazione Giorgio Cini di Venezia, f. Since the 1970s,
Barrios has been representing his country at the Sao Paulo
Biennials as well as The Tokyo Print Biennial, The Paris Young
Artists Biennial, The Havana Biennial, The Cracovia Print
Biennial, The Buenos Aires Triennial and The Poligraphic
Triennial of San Juan, among others. In 2001 he received a
prize as the best Latin American Artist at the Buenos Aires
Triennial. His work is represented in major international
collections like The Museum of Modern Art in New York, the
Brooklyn Museum, The Art Gallery of Western Australia in Perth
and The Museum of Latin American Art in Washington. He has
been included in numerous exhibitions such as "MOMA at El
Museo: Latin American & Caribbean Art from the collection
of The Museum of Modern Art" at Museo del Barrio in 2004 and
in 2007, he was part of "New Perspectives in Latin American
Art, 1930-2006: Selections from a Decade of Acquisitions" at
the MOMA. In February 2008, he was invited to give a lecture
on his texts "Dreams About Marcel Duchamp" at The Museum of
Modern Art's Celeste Barthos Theater, in New York.
To accompany the exhibition, a Popular Print by Barrios
will appear in the November 19th Edition of the Village Voice,
as well as in its website. The artist will sign and number the
prints on Saturday November 22nd from 10 a.m. to 12 p.m. They
can also be sent to the gallery in a self-stamped envelope
until December 30th for signing. The artist will not sign any
more prints after that date.
Image:
Alvaro Barrios
Untitled (In Advance of
the Broken Arm), 2008
acrylic on canvas
30 in. diam. 76
cm
Courtesy of Nohra Haime Gallery
Nohra Haime Gallery
41 East 57th
Street
New York, NY 10022
T + 1 212 888-3550
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judi rotenberg gallery, Boston MA |
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Jennifer Liston Munson:
Glance
November 20-December 23, 2008
Opening
Reception: Thursday, November 20, 2008 6-8pm
The judi rotenberg gallery is pleased to
present Glance, Jennifer Liston
Munson's first solo exhibition at the gallery.
Jennifer Liston Munson works with the unlikely
combination of two disparate media: c-prints and oil
paintings. Her alluring, faded imagery are abstractions of
Polaroid's taken in motion during her travels. Through the
enlargement of the original grainy Polaroid, and through the
translation from one medium to another, Liston Munson further
distances her imagery from the particulars of place, and
recreates the perceptive experience of a glance.
Liston Munson has been working with a Polaroid xs-70 for
several years now. These thumbnail size pictures are her
preferred method of isolating a moment of visual interest. The
hazy, blurred, tonal images are then filtered through a
digital enlargement process. At this stage, the artist further
translates the subject through painting, by working on a panel
that has been prepared with plaster and sanded to a fine
finish. On this surface, Liston Munson, employs a repetitive
layering of oil in washes to create depth and richness. Liston
Munson's image selections resonate familiarity, and therefore
offer room for appropriation of memory for the particular
viewer. The material juxtaposition of these saturated
architectural components and the reflective sheen of the
c-print reinforce this sensation as the viewer looks back and
forth to locate an elusive memory that shifts form.
Liston Munson received her B.F.A. from
Massachusetts College of Art, and her M.F.A. from the School
of the Museum of Fine Arts in 1997 after studying at
Loughborough College of Art and Design, Leicestershire,
England. She has exhibited at commercial galleries and
institutions, including CEPA Gallery, Buffalo, NY, University
of Massachusetts Art Gallery, Lowell, and the Museum of Fine
Arts, Boston. She has also been the recipient of the
Massachusetts Arts Lottery Grant and the Traveling Scholars
Award for the School of the Museum of Fine Arts .
Image:
Jennifer Liston Munson
Seville Billboard
II, 2008
oil on wood, c-print on plexi
30" x
28"
Courtesy of judi rotenberg gallery
judi rotenberg gallery
130
Newbury Street
Boston, MA 02116
+1 617 437 1518
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Danielle Arnaud contemporary art,
London |
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Riddle me
Alice Anderson, Tessa Farmer, Oona Grimes,
Sophie Lascelles, Helen Marten, Patricia & Marie-France
Martin and Sarah Woodfine
7 November - 14 December 2008
'Now we have machines to do our dreaming for us. But
within that 'video gadgetry' might lie the source of a
continuation, even a transformation, of storytelling and story
performance. The human imagination is infinitely
resilient...' Angela Carter ,1990
The artists showing in this exhibition investigate
different aspects of storytelling, fantasy and identity.
The work creates relationships between innocence and violence,
light and darkness. Alice Anderson's
Insomnia is a filmic installation of a 'Freudian
Tale', inspired by situations and objects that recall her
childhood and provoke violent emotions. 'Under a seductive and
smooth appearance, her images speak of the cruelty of family
relations' 1.
Tessa Farmer's stop motion animation
contains fairies fabricated from urban and rural flora and
fauna. The fairies resemble apocalyptic beings,
fragile-looking, half-human, half-insect. Farmer is a silent
storyteller, a scribe of dreams and nightmares.
Necropolis is Oona Grimes' map
and mirror of the waking world, a theatre of sleep whilst her
collaboration with Sophie Lascelles, Peril, plays like a
terrifying melodrama where objects and buildings take on dread
significance.
Sophie Lascelles works sculpturally with
projections. Images take on three dimensional qualities:
moving over surfaces, into cracks; a blurred image on the wall
comes fleetingly into focus, in a corner under the radiator, a
women's shadow circles, silhouetted against the evening sky, a
man digs; his garden or something more sinister?
Patricia & Marie-France Martin's
video ... Unseen by the gardener unfolds within a
garden, cemetery, and church with a medieval tower. The
archaeological site evokes a reflection on notions of identity
and confinement, physical and mental.
Hailing from a generation riffling continually on a fuzzy
empire of images, atmospheres, excitements and densities, the
work of Helen Marten is a crumple-zone of
geometries and histories. A pulling apart and re-arranging of
the high and low, the work forces a dialogue between content
and structure- a move between a finger-tip relationship with
materials and their symbolic potential.
Sarah Woodfine explores imaginary worlds
that border between the familiar and fantastical. Her drawings
often take the form of three-dimensional constructions,
exploring dreamlike imagery that is rooted in childhood yet
easily causes tremor among adults' 2.
1 M.Jacquin
2 Eliza Williams in Contemporary
Image:
Tessa Farmer & Sean
Daniels
Nest of the Skeletons 2008
stop-motion animation
5'
courtesy of the artists and Tatton Park
Biennial
Danielle Arnaud contemporary
art
123 Kennington Road
London SE11 6SF
UK
+44(0) 207 735 8292
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Wyer Gallery, London |
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Annabel Emson
An Other Space
21st November 2008 - 10th January 2009
"Dabs drips dobs dashes delicious dribbles define
demarcate designated areas of splashy spaces drags drawn
splatter wipes washes, whispery willow like lines, create a
strange and moody menacing moment/s in a space/s deep yet
shallow, informal confident casual sensitive with beautiful
passages of liquid lagoon light, nervous flurries of brushwork
pink skids turquoise twiddles white pulls composed, construct
an other space."
Bruce McLean, November 2008
Wyer Gallery is pleased to announce an
exhibition of new paintings by Annabel Emson.
An Other Space opens with a private view on Thursday 20th
November 2008
Teetering on the edge of
abstraction and representation, Emson's paintings reflect the
patterns that arise naturally in the structure of the world
around us. However, despite drawing inspiration from both the
natural and manmade environment, she does not depict
recognizable landscapes in existence somewhere but, working
intuitively and spontaneously from memory, alludes to some
less tangible or fleeting place or space, rooted in memory
perhaps but which has become something other, independent,
self-determining and lawless.
Her paintings seem
to reflect a joy taken in the physicality of painting as well
as paint's material possibilities. She plays with
juxtaposition of colour, its temperature, intensity and
emotional pitch; the manner and form of the application of
paint and the part played by rhythm and sound, both in the
process of painting itself and the form and structure of
visual composition. This experimentation with the language and
application of paint has lead to an ostensibly disparate note
in a collection of canvases that differ in scale and style and
where abstract works containing broad, energetic or gestural
brushwork sit alongside others in which more considered
figurative ideas have worked their way in alongside layers of
abstraction to suggest a narrative or something more
descriptive.
However diverse at times, the works
are linked to each other by an index of recurring motifs and
images, referencing and building upon each other as part of an
extended conversation. Reduced to their core, these are
paintings about their process and each work a consequence of a
new question that is understood most fully in its relation to
its counterparts.
Emson
graduated with an MFA in painting from the Slade School of Art
in 2006 and before that Chelsea College of Art, London. She
has shown with Kenny Schacter and IBID Projects in London;
oversees, she has shown at Art Cologne, with Gallery
Gymurznska, Zurich and at the Castellon Museum, Spain, where
she was short listed for the Castellón Museum Painting Prize
2006. Her work has sold at auction through Sothebys and is in
private and corporate collections internationally.
Image:
Annabel Emson
Beats of Light
oil
on canvas, 2008
182 x 152 cm
Courtesy of Wyer
Gallery
Wyer Gallery
191 St. John's
Hill
London
SW11 1TH
T +44 020 7223 8433
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Daneyal Mahmood Gallery, New York
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Stéphane Pencréac'h
In the Middle of the Night
November 20 - January 10, 2009
Daneyal Mahmood Gallery is proud to
present the New York premiere of painter Stéphane
Pencréac'h.
Pencréac'h's paintings depict closed spaces, where
darkness is pierced by knife-like shafts of light; a body
floats above murky waters; a car explodes...it seems to
suggest an alternate reality. Stéphane Pencréac'h turns
perception back on itself - the eyeballs roll backwards into
the skull to reveal interior visions both fantastic and real.
This coupling gives birth to strange visions, a sort of visual
hybridization, where through the juxtaposition of different
techniques - paint, pierced canvases, pristine spaces, the
inclusion of objects - a prosthetic leg, a wooden snake, a
rubber mask - are multiplied the stratum of reality: seeing
fake and real openings, feigned and true objects, the eye
cannot determine if its illusion or reality that make up the
surfaces of Pencréac'h's canvases. Nourished by multiple
references, the works mix and combine everything, without
apology, at the service of an imagination that appears to have
few limits. Ultimately, it is a form of theater - in each
painting, the curtain is raised onto another act: power, the
animal nature of man, sex, death, war, evil, redemption and
love. If all this seems familiar, it is because for
Pencréac'h, this scary, interior and eminently psychological
world is none but our own.
Stéphane Pencréac'h was born in 1970. He
lives and work in Paris. His most recent exhibitions include
"Von Katzen und Werwolfen," Postfuhramt, Berlin, Germany in
the fall of 2008 and "Le Chemin de Peinture," at Mamac -
Modern and Contemporary Museum of Nice, France December 2008
through May 2009.
Image:
Stéphane Pencréac'h
Cauchemar
(Nightmare)
mixed media on canvas, 51 x 76 in,
2008
Courtesy of Daneyal Mahmood Gallery
Daneyal Mahmood Gallery
511 West 25th
Street 3rd Floor
New York, NY 10001
+1 212 675
2966
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Branch Gallery, Durham NC |
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Casey Cook: Boom Bomb
Crash
November 8 -December 20, 2008
Branch
Gallery is pleased to present a solo exhibition by
Casey Cook titled Boom Bomb Crash.
Cook mounts her second exhibition at the gallery with new
paintings as well as collage works, sculpture, and a
multi-channel video installation.
In a pair of large-scale paintings, Cook continues to
develop her visual lexicon. With a sophisticated use of line
and unexpected color, she creates a complex juxtaposition of
forms that fill the canvas with multi-faceted metamorphoses.
Pyramids, hieroglyphics, 1950s-60s fashion, still-life
tableaus, and graffiti intertwine; telling a new story rife
with the reinvention of meaning - a historical mash-up.
Cook sites the Droste Effect as an influence. "An image
exhibiting the Droste effect depicts a smaller version of
itself in a place where a similar picture would realistically
be expected to appear. This smaller version then depicts an
even smaller version of itself in the same place, and so on.
Only in theory could this go on forever." Each of Cook's works
seem to hint to themselves and one another. She weaves her
narrative through various media; a story may start in a
painting, then continue on in a sculpture, and reappear in a
video, and so on, and so on.
Cook has expanded her practice off of the canvas and into
new three-dimensional sculptural works that continue the
development of her unique visual iconography. Borrowing the
idea of transformation from the Dadaists and Surrealists, Cook
assigns new meaning to series of used artifacts using molds
and papier-mâché. She transforms everyday objects (e.g.
thrift-store sofa cushions, balloons, high-heeled shoes) into
exalted instruments; decorated and full of new meaning. At
times carnivalesque and at other times sedately formal, the
multifaceted surfaces of these works - employing images culled
from erotic ads and pornographic magazines - hint at the
complex nature of desire.
Cook's video is based on the personification of musical
instruments. In the performance, Cook appears at the helm of a
human drum kit; comprised of seven women in silver unitards,
white gloves, and black heels. The artist states, "I like the
use of something absolutely silent (a mime) to represent
something so loud (music/drums). It ends up being about the
physical movements. The reaction of the drums to the sticks
(conductor) playing the drums. Through repetition and
uniformity of costume and movement, the performance takes on
qualities of a ritual; a right of passage; an induction
ceremony. Something vaguely familiar and historical, yet
indecipherable."
Cook, who is based in North Carolina, received her MFA
from the University of California, Los Angeles in 1997. She
has had solo exhibitions at venues such as Lehmann Maupin, NY
and Richard Heller Gallery, CA; and has participated in group
exhibitions at venues including Deitch Projects, NY; Pat Hearn
Gallery, NY; and Matthew Marks Gallery, NY.
Image:
Installation view: Casey Cook: Boom
Bomb Crash
Courtesy of Branch Gallery, NC
Branch Gallery
401c Foster Street
NC 27701
Durham, NC
+1 919 918 1116
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Goff + Rosenthal, New York |
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Simon English
"Silver Spoons and
Dirty Grooms"
15 Nov 2008 to 22 Dec 2008
Goff +
Rosenthal is pleased to present "Silver Spoons
and Dirty Grooms", the first solo exhibition of the work
of London-based artist Simon English in the
United States.
Simon English emerged onto the London art scene in 1994
with his first-ever solo show of large scale paintings at the
Saatchi Gallery, part of "Young British Art 3". More recently,
he has become known for large and small scale works on paper
which have been described as being "painted drawings" and fit
somewhere between the two. English uses drawing as, in his
words, "a unique engine in which to power and fuel the subject
of the work across the blankness of the empty page." The work
is deeply rooted in literature, British history and the
artist's rich personal and familial history. In Art in America
of January last year, Ana Finel Honigman stated that English
"resurrects lost images, connects loose references and makes
beauty from pictorial chaos."
Says English: "It is a pre-photography art that stays
close to writing and the journey of the imagination."
The most remarked on element of English's work is its
Englishness. The drawings are a complicated matrix of literary
references such as Christina Rossetti and Byron, of acerbic
double-entendres, bawdy jokes and skewering wit, pastoral
country house fantasies and distinctly urban pursuits such as
orgies and gay cruising. Each work has its own internal logic,
in which supposedly "high" and "low" become flattened into one
scene encompassing a multiplicity of perspectives and desires.
The content is both sad and comic, both prudish and perverse,
in a way that is distinctly English: it is truly arsenic and
old lace.
In "The Bachelor's Wedding (A Suitable Match)", the title
comes from two romantic novels by the Mills and Boon author,
Betty Neels. It refers not only to a small painting of that
title that pre-supposes a wedding between Lord Byron and Lady
Lamb but equally refers to the coupling of drawing sheets and
the weaving of separate stories within the large scale works,
taking an ironic nod at "English suitability". "It is a
cacophony of different voices, songs from the past, notes from
the present and rattlings of desire," says English.
In "Jemima Puddleduck", he imagines an encounter between
characters from Beatrix Potter and Michel Tournier's "Gemini,"
in which they enter a forest at the same time , embarking on
synchronized stories involving eggs, nests, the meeting of
strangers and the eventual " innocent and experienced"
entrance to the woodshed.
In "Silver Spoons" the symbol of the egg, and
specifically a Faberge-like egg, recurs. "These eggs," says
English, "are large bold forms that carry bejeweled narratives
upon their back. Eggs abound, from the 'Nest egg', a fictional
story of embezzlement that makes reference to Robert Maxwell
and rogue trading both in business and art to the 'Parsons
egg' and its acknowledgment of polite society in the face of a
rotten egg."
In 2005, English's work was included in the "Contemporary
Erotic drawing" show at the Aldrich Museum in Connecticut and
his monograph"Simon English and the Army Pink Snowman" (Black
Dog Publishing) was released by with extensive essays from
Bill Arning and Stella Santacatterina. He has had solo gallery
exhibitions in London, Berlin, Zurich and, most recently, in
Paris at Agnes b.'s Galerie du jour. His work is in the
collections of Agnes b., France, The Louisiana Museum,
Denmark, The Falkenberg collection, Hamburg, The Arts Council
of Great Britain, The British Museum, The Paisley Museum
Scotland and the Saatchi Collection, London, among others.
Image:
Simon English, A Red Rhum Day,
2008
Ink, acrylic and gouache on paper
60 x 44 inches
(152 x 112 cm)
Courtesy of Goff + Rosenthal
Goff + Rosenthal
537B West 23rd
Street
New York, NY 10011
+1 212 675-0461
Read On... Goff + Rosenthal, New
York
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Nadania Idriss New Glass Art &
Photography, Berlin
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Thomas Wendler: Energised Glas
6 December 2008 - 19 January 2009
opening reception 5
December 2008, from 7pm
Nadania Idriss New Glass Art &
Photography is pleased to present Energised
Glas, a solo exhibition featuring the work by Berlin
artist Thomas Wendler. The show includes a
variety of the artist´s skilfully flame-worked glass
sculptures, all of which are infused and energized with gasses
that bring the pieces to life.
Thomas
Wendler is a skilful technician, firmly rooted in the
tradition of flame-work and tube bending. By
incorporating figurative references into his work, Thomas
Wendler explores the idea of making sculptures with neon
light; a material habitually reserved for illuminating text on
signs and displayed two-dimensionally.
"I like to
play with the glass as long as it likes to play with me. I
also take pleasure in creating forms with colours and infusing
my own light. I make hollow glass sculptures, which are freely
formed with flame. I use glass and light to create self
illuminated glass sculptures, vessels, scenes and still lifes,
all of which are expressions about myself on things related to
my personal experiences. One may admire them during the day,
when the sun shines, and then enjoy a completely different
perspective during the night, when the light comes out of the
glass. The pieces come alive with light when
energised."
Thomas Wendler was
born and raised in East Berlin. He was formally trained as a
scientific glass-blower in Ilmenau, an area of eastern Germany
known for technical glass manufacture. In 1986, Thomas
escaped to West Berlin where he began to learn tube
bending. He eventually stated working with neon, making
custom-ordered signs for businesses through out Germany.
Thomas Wendler also acts as a consultant for
many of Germany´s most renowned contemporary artists, and has
made neon elements for their installations.
Located in Mitte, Nadania Idriss New Glass
Art is one of Berlin's premier exhibition spaces for
contemporary studio glass. Gallery hours are Tuesday -
Saturday 13-19:00.
Image:
Thomas Wendler
Menorah Light Dancers, 2007
Glass, neon,
transformer
Courtesy of Nadania Idriss New Glass Art &
Photography
Nadania Idriss New Glass Art &
PhotographyLinienstraße 154 10115 Berlin,
Germany +49 (0) 30.278.793.86
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December 16-17 Painting & Drawing
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