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14 December 2007 | re-title.com newsletter - Painting & Drawing December 2007 |
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 Monika Sprüth
Philomene MagersMunich MAUREEN GALLACE 29 Nov - 19 Jan 2008 Monika Sprüth and Philomene Magers are pleased to announce the first solo exhibition by the US American painter Maureen Gallace (born 1960 in Stamford, Connecticut, USA) in their Munich gallery. Maureen Gallace's small paintings seem to resist interpretation, completely drawing the observer in. At first sight, these paintings could be considered naive, but when looking at them more closely they turn out to be very complex, profound and difficult to categorize. Gallace has pursued her own conceptual approach - often painting landscapes that are empty of people, but with isolated buildings indicating the presence of the human. Gallace uses her own private photographs as a source for her paintings. By repeating what appears to be the same subject again and again, she develops a genealogy of the house and of the landscape that provides the space for these dwellings. Despite that the space is clearly defined, the perspective appears deconstructed. Against our knowlege of the permanent construction of buildings, here the houses seem airy and floating, as if created by magic. The picture appears as the concentrate of the memory of a place once seen, like a vision. Gallace's work is painted in the tradition of American landscape, and especially in the modern intellectual tradition of Cezanne, Hopper, and Ryman, and more importantly of Cornell and Judd. Her works possess a remarkable, even meditative silence and a completely peculiar originality; they convey the belief in the power of beauty, which can never be fully achieved. 2006 Maureen Gallace had a one-person-exhibition at The Art Institute of Chicago, Chicago. In 2005 Gallace exhibited at the Chinati Foundation in Marfa,Texas, and she had a solo exhibition at the Douglas Hyde Gallery, Trinity College in Dublin, Ireland in 2004. A catalogue with text by Rick Moody was published to accompany this exhibition. Previous solo shows include the Dallas Museum of Art, Texas in 2003, the Fukui City Art Museum, Japan in 2001 and the Museum Schloss-Hardenberg in Velbert, Germany in 1996. Gallace's paintings are included in the collections of the Dallas Museum of Art, Texas, Wadsworth Atheneum, the Fondazione Di Vignola, Italy and the Whitney Museum of American Art, New York. image: Maureen Gallace Marfa, 2007 Oil on panel 28 x 35,5 cm Courtesy of Monika Sprüth Philomene Magers Munich Monika Sprüth Philomene Magers Munich Schellingstr. 48 80799 Munich Germany Monika Sprüth Philomene Magers Munich Read on... Monika Sprüth Philomene Magers Munich |
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 Frederieke
Taylor Gallery New York LISA SIGAL LISA SIGAL, selected for the 2008 Whitney Biennial, will exhibit "Tent Paintings" at Frederieke Taylor Gallery, 29 November 2007 - 12 January 2008. Frederieke Taylor gallery is pleased to announce Lisa Sigal's "Tent Paintings," her fourth solo show at the gallery. For a number of years, Lisa Sigal has been conflating building with the act of making art. Architecture becomes surface and painting can become shelter. Questioning the way in which space is measured and mediums are defined, Sigal plays with the differences between color, line, signage and wall until all things are seemingly equal. This exhibition will include tent-like installations using materials such as paint on wallpaper, sheetrock and newspaper. While wallpaper is generally a decorative surface expressing taste, in the case of these pieces, the walls are missing. The paper replaces the architecture and defines the boundaries. Also on view will be related collage drawings. Of the work in this show, the artist writes: "Lately I have been using wallpaper to build structures. I am interested in combining the cultural references that the wallpaper has with unexpected elements such as found notes, photographs, newspaper clippings, etc. which alter its meaning. The wallpaper pieces come from a group of paintings I call "Tent Paintings." The "Tent Paintings" are on folded sheetrock panels that are suggestive of makeshift shelters. The wallpaper seems like an extension of these folded architectural forms, unstuck and free form. Besides the formal qualities of the wallpaper, I am interested in suggesting a mutable delineation between being inside and outside. This shift brings a subtle change in vantage point that has the potential to radically alter one's physical and philosophical perspective. Blurring the distinction between fiction and fact is an act of equality." Currently, Lisa Sigal has an installation at P.S.1 MOMA, on view thru January 7, 2008. This installation directly relates to "Tent Paintings," where she is considering shelter as the threshold between the visual and physical. It is titled, "LIC 4BR total reno bsmt 2 skylite nr subway historic 1894 school bldg must see Lisa 347 613 0682, " which is a description of the piece as a place in the museum's boiler room. Works by Lisa Sigal have been included in numerous museum and group exhibitions including The Aldrich Museum, CT, Sculpture Center, NY, Anderson Gallery in Richmond VA, Brooklyn Museum of Art, NY, White Columns, NY, Weatherspoon Art Gallery, NC, Real Art Ways, CT. Sigal has been the recipient of the Headlands Center for the Arts Residency 2004, NYFA Grant 2002, Ballinglen Arts Foundation Fellowship Ireland 1999, Joan Mitchell Foundation Grant 1998, Elizabeth Foundation for the Arts Grant1998, Yaddo Fellowship 1991 and Provincetown Fine Arts Work Center 1988. Image: LISA SIGAL "Untitled (For Rent)", 2007 Mixed media 88" x 57" x 27" Courtesy of Frederieke Taylor Gallery New York Frederieke Taylor Gallery 535 West 22 Street 6th Floor New York NY 10011 Frederieke Taylor Gallery New York Read on... Frederieke Taylor Gallery New York |
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 Gladstone
GalleryNew York MAGNUS PLESSEN 1 Dec - 12 Jan 2008 Gladstone Gallery is pleased to announce an exhibition of new work by Magnus Plessen. In these new paintings, Plessen continues to explore the absence that haunts structures of vision. Drawing upon the relationship between the primacy of paint and the object rendered, Plessen leaves compositions un-integrated, and thus open to be seen merely as the spaces of life. In this new body of work, the scraped brushstrokes both fill the surface of the canvas, as well as designate boundaries of emptiness. Teetering on the edge of visual unification, Plessen's interplay of positive and negative spaces revolves around the physicality of paint upon a canvas, marking both what remains present and that which has been removed. In a recent interview, Plessen remarked, "I have asked myself where the image is, is it in front of me or is it within me? When I'm working, I imagine building up the image from behind, stepping into the inside of the picture, turning around and painting the brushstroke from the underside.. I was both inside and outside." The new work included in this show seems to expand upon this notion of interior and exterior locations of the image, specifically in the painting In and Out of My Shirt, 2006. Here, hatched outlines in multiple colors and thicknesses seem to unpeel and reveal the titular object; however, the figure of the painter does not seem to emerge from beneath the folds. Rather, the object rendered seems to swallow the composition, and in turn itself, betraying the skids of a vortex along the surface. In other work, Plessen turns to a quasi- tactile reflection of his world. Instead of removing the figure, in Untitled, 2006, he presents a contemporary Madonna and child, shimmering shadow-like between the vibrations of scraped brushstrokes. Here the sensuous surface seems to touch reality, although the true identities of the figures never stay in focus. In this way, the painter isolates himself, drawing from life only to sacrifice his subjects to a highly-subjective notion of objectivity. However, within these unresolved compositions, there is space, both positive and negative, in which vision guards the presence of life. Magnus Plessen was born in 1967 in Hamburg, Germany. His paintings have been the subject of numerous solo exhibitions, including the Neues Kunstmuseum in Luzern, K21 Kunstsammlung Nordrhein-Westfalen in Düsseldorf, P.S. 1 in New York, the Centre Pompidou in Paris, and the Art Institute of Chicago. His work was also included in the fiftieth Venice Biennale in 2003. This exhibition is accompanied by a fully illustrated catalogue with a text by Francesco Bonami. Image: Magnus Plessen Execution, 2006 Oil on canvas 75.98 x 111.81 inches (193 x 284 cm) Courtesy of Gladstone Gallery New York Gladstone Gallery 515 West 24th Street New York NY 10011 Gladstone Gallery New York Read on... Gladstone Gallery New York |
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 Freight + Volume
New York REAR/VIEW 30 Nov - 5 Jan 2007 Brian Bress Melissa Brown Matthew Chambers Holly Coulis Kim Dorland Andrew Guenther Simon Hughes Jeremy Kost Russell Nachman David Quadrini Jesse Finley Reed Curated by Eric Shiner Lurking just beneath the gleaming facade of North America's so-called Gilded Age of prosperity lies an underbelly of anxiety and uncertainty, hinting at the true nature of life in the early 21st-century. And although the art world has exploded in terms of commercial sales and record-breaking auction results, artists working within-or in many cases, against-that system have continued to lay the facts bare. We are now living in an age rife with war, jeopardized by constantly fluctuating stock markets, destabilized by an ever-growing mortgage crisis, unaffordable health care, government sanctioned torture and surveillance, widespread poverty and pocked with ever-increasing violence on our urban and rural streets. Simply stated, these are disquieting times, and artists, prone as they are to keep their finger on the pulse of society-at-large, are creating works that forego the brilliance of the art world's wealth, presenting us instead with the gritty and eye-opening reality of the grime that festers below. The artists included in REAR/VIEW look not only at our detritus-strewn landscapes, but also examine the role of the human body in these turbulent times. They seem to look back at an age of innocence, 60's utopian ideals of peace, love and understanding to a time in their lives when life was worth living. A strong sense of consternation is present throughout the works on display, whether it be a painting of a suburban landscape that might represent hell, or a movie starlet applying her make-up in the rearview mirror of a luxury car, before she completely melts down. The juxtaposition of bodies and spaces presented in REAR/VIEW will entice the viewer to enter into the fray, to question the status quo and attempt to find a way out of the quandary of contemporary life in North America. The artists in the exhibition, hailing from across Canada and both coasts of the United States, bring to New York a survey of reactions against the new Golden Age, fraught as it is with a pervasive fear that the good times, if they ever existed in the first place, are soon to be a thing of the past. Image: Andrew Guenther Going Home, 2007 acrylic on canvas 35 1/2 x 45 1/2 in. Courtesy of Freight + Volume New York Freight + Volume 542 West 24th St. New York NY 10011 Freight + Volume New York Read on... Freight + Volume New York |
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 Winkleman
GalleryNew York Ivin Ballen "50/50" 29 Nov - 5 Jan 2007 Winkleman Gallery is very pleased to present "50/50," our first solo exhibition of paintings by New York artist Ivin Ballen. Featuring a brilliant new series of paintings, and a triptych incorporating an operating stereo system, Ballen offers an insightful and humorous exploration of our relationships to everyday materials via painting. Composing maquettes from cardboard, duct tape, plastic bottles, garbage bags, and other recyclable commonplace items, Ballen casts fiberglass and aqua resin sculptures of their negative space that he then paints with acrylic and watercolor paints, often with trompe l'oeil passages that reference the original found objects. Although the illusion is temporarily quite convincing, closer inspection of the paintings reveals subtle differences in textures and colors that expose the process, reinforcing Ballen's central investigation of the act of looking and perceiving. Corresponding with his first New York solo exhibition is Ballen's first solo exhibition at Hilberry Gallery in Detroit, MI, November 9 -January 5, 2008. Image: Ivin Ballen Poodle, 2007 Fiberglass, aqua resin, acrylic Courtesy of Winkleman Gallery New York Winkleman Gallery 637 West 27th Street (Ground Floor) New York NY 10001 Winkleman Gallery New York Read on... Winkleman Gallery New York |
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 SUNDAY L.E.S.,
New York MICHAEL KRUEGER Peace in the Valley SHANE RUTH Project Space: Saddle Muscle 14 Dec 2007 to 6 Jan 2008 SUNDAY is pleased to present the first New York solo exhibition by artist Michael Krueger. On display currently in the Project Space are recent works done by artist Shane Ruth. Michael Krueger¹s most recent drawing series gives focus on the time between histories and the conflicting narratives that leave the characters and creatures of history of the American West in limbo. Through swift and delicate lines of colored pencil, histories someone¹s and the nobodies are juxtaposed with relics of the present and are left isolated in their quest to make sense of their situation. The contrast of the medium with the subject causes a certain playfulness that coincides with the restless of these characters. These figures focus on simple gestures and the interplay between the current moment, the past and the present. Their histories lie in the balance as different factions write and rewrite their stories. Each piece instills a deep sense of narrative, memory, realism, melancholy and a vein of tenderness. Michael Krueger (Kenosha, WI) currently lives and works in Lawrence, Kansas. He received his MFA in Printmaking at the University of Notre Dame, Notre Dame, IN. He has had solo exhibitions at the OSP Gallery in Boston, MA, The Gallery at the University of Texas at Arlington, and the Lawrence Art Center, Lawrence, Kansas among others. In addition He is also the recipient of numerous awards including the Roger Shimomura Research Fund in 2006 and Fellowship, from the Kala Art Institute, Print Studio & Media Center, Berkeley, CA. Today he works at the University of Kansas, as an Associate Professor of Art. Image: Michael Krueger Courtesy of SUNDAY L.E.S., New York SUNDAY L.E.S. 237-A Eldridge Street between Stanton Street and East Houston New York, NY 10002 SUNDAY L.E.S., New York Read on... SUNDAY L.E.S., New York |
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 Metro Pictures,
New York Jim Shaw : Dr. Goldfoot and His Bikini Bombs 30 Nov - 25 Jan 2008 Dismembered human forms are the common theme in Jim Shaw's exhibition of new work that opens at Metro Pictures November 30th. Among the paintings, sculptures and drawings in the exhibition is an 11 x 15 foot painting inspired by the 1965 Vincent Price film "Dr. Goldfoot and the Bikini Machine." Painted on top of a pastoral backdrop from an old Hollywood soundstage, Shaw merges a likeness of Price composed of female nudes in a kitsch/surrealist fashion with a self-portrait - both done in his signature "ripped-up" illustrative style. With logic befitting the artist the painting is joined with a pair of ceramic feet placed squarely in front. Continuing his series of "Dream Objects" (recreations of objects and artworks that appeared in his dreams), Shaw will show a group of sculptures that take the form of body parts as home décor. The hybrids include an ear couch covered in blue velvet, nose wall sconces, butt-head stools and a digestive-tract wall sculpture. The exhibition will reopen at the start of the new year transformed by Shaw. Adding to the existing scene, he will bring in works drawn from ideas he previously rejected as "undesirable." Jim Shaw has exhibited widely in the US and internationally since the late 1980s. Among his previous series are "My Mirage" (1985-1990) which follows the experiences of a fictional boy named Billy as he grows up during the 1960s and 70s; "Dream Drawings" and "Dream Objects," (1991-present) featuring recreated imagery and art objects from the artist's dreams; and works defining the evolution, dogmas and rites of his fictitious religion "Oism" (2000 to present). Recent solo shows include PS1, New York ("The Donner Party"); Magasin Center of Contemporary Art, Grenoble; and Kunsthaus Glarus, Switzerland. Recent important group exhibitions include "Eden's Edge: Fifteen LA Artists," Hammer Museum, Los Angeles; "Red Eye: LA Artists from the Rubell Family Collection," Miami; "Los Angeles-Paris," Centre Pompidou, Paris. Image: Jim Shaw Dr. Goldfoot and His Bikini Bombs, 2007 Acrylic on muslin 143 1/2 x 190 3/4 inches Courtesy of Metro Pictures, New York Metro Pictures 519 West 24th Street New York, NY 10011 Metro Pictures, New York Read on... Metro Pictures, New York |
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