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26 January 2007 | Drawing & Painting January 2007 |
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 Sprueth Magers
Projekte, Munich Gert & Uwe Tobias: Die Hora nimmt kein Ende Monika Sprüth and Philomene Magers are pleased to be able to present the first solo exhibition of Gert and Uwe Tobias in Munich. The exhibition comprises four large-format woodcuts, numerous works on paper as well as three sculptures. Together with the coloured walls, the resulting staging clearly articulates the relationships between the works, which have all been specially created for the exhibition. Gerd and Uwe Tobias’ visual world is a hybrid. They quote from the history of art as well as from folk art; from constructivism and votive pictures; they bring flea market finds together with collages from fashion magazines. Their approach to this is very serious, sometimes seemingly scientific — one sculpture in the exhibition is a glass showcase containing photos, collages, drawings and texts — but also ironic. The walls in the exhibition are painted dark red; the expression “oxblood red” springs to mind. Selected wall sections, such as projections and the wall molding are kept in white, creating the impression of fabric wall coverings, as seen in museums back in the nineteenth century or those devoted to local history. The exhibition is tightly packed; everything is interrelated: the sculpture tensioned between ceiling and floor made of black cylindrical and disc-shaped wooden elements creates a stylised flower which can be seen as constructivist in nature. A real rose stands in a vase in the second, smaller sculpture. In the woodcut in the entrance area, a circle is growing out of a rectangle, which thus becomes a flowerpot. Its case stands in front of a painting which in turn adopts its form. Several framed drawings composed of typewriter characters are arranged so that they resemble a flower climbing up the wall. The woodcuts are very graphic and comparatively simple in design, yet the numerous super-imposed layers of paint result in a sense of opulence; the concept HORROR VACUI, the fear of emptiness, comes to mind. As in medieval art, which sought to leave no room for evil by filling every empty space with ornaments, the gaps in this exhibition are full of associations, levels of colours and tales being taught. The white cube would not be the appropriate representational form here. Without being sentimental or retrospective, an atmosphere imposes itself on the exhibition which is reminiscent of pictures, places, things, stories and situations as they used to be, and yet at the same time it seems very modern. The biographical aspect of Gert and Uwe Tobias’s work is possibly the connecting factor: the way the 33-year- old artists look at their Rumanian homeland (which they left as teenagers) is considered and yet immediate. Their approach is authentic AND ironic. The works of Gert and Uwe Tobias confirm yet again that the dichotomies of abstract versus representational, form versus content, high versus low, are obsolete. They are nothing more than artificial constructions used by academics and critics in their attempt to capture that which refuses to be defined. They produce a complex visual world with their pictures and sculptures, which however generates a surprisingly coherent atmosphere. “Hora”, which is mentioned in the title of the exhibition, and seems to go on ad infinitem, is a Rumanian folk dance where a group of dancers move in a circle. It is a fitting image for the exhibition, in which all the elements seem to interrelate while circling each other. Gert and Uwe Tobias were born in Kronstadt (Brasov), Rumania, in 1973. They came to Germany in 1985, and currently live and work in Cologne. Their work was most recently seen in a solo exhibition at the Hammer Museum in Los Angeles. A further solo exhibition will follow in March at the Kunstverein Heilbronn. They participated in the 2005 “Künstlerbrüder” exhibition at the Haus der Kunst in Munich. In 2004 they were awarded the Peter-Mertes- Stipendium in connection with an exhibition at the Bonner Kunstverein. Image : Gert & Uwe Tobias Untitled, 2006 woodcut Courtesy Galerie Monika Sprüth / Philomene Magers Köln / München / London Gallery website Read on... Sprueth Magers Projekte, Munich |
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 Tony Wight /
Bodybuilder & Sportsman, Chicago Scott Wolniak : tamed and wild: new drawing and video TONY WIGHT / BODYBUILDER & SPORTSMAN Gallery is pleased to announce Tamed and Wild: drawing and video, an exhibition of new projected video and recent drawings by Chicago based artist Scott Wolniak. Scott Wolniak's new work explores ideas of the natural world (or "the wild") as a metaphor for expressionism and technology run amok. Abstraction serves for Wolniak as a critique of expressive abandon, be it in the studio or on a jet ski. The Pond Calling to the Ocean is a hand-drawn, digitally animated video that creates a shifting vision of reflective, lapping water. The waves are a rhythmically structured meditation that progresses through increasingly frenetic, layered space, eventually reaching an impressionistic white noise crescendo that echoes the visual complexities of its source. The video is comprised of several thousand drawings done in watercolor, ash, melted snow and pond water. The looseness with which these pages were drawn is undercut by the mechanical repetition of the animation process. The sound and image of moving water functions as a suggestive vehicle for time and space travel, as well as murky implications of universalism and environmental progressivism. Six framed drawings --a seagull, a bottlenose dolphin, the sea, the sky, the horizon, dirt and Roy Horn's white tiger Montecore-- provide a counterpoint of containment and familiarity to the sprawling abstract projection. These deal with similar conceptual terrain but provide a more semiotic tone. Stark structuralist gesture is pitted against aspects of decorative art, entertainment, new age illumination, and tourism thereby creating images that purposefully collapse into flimsy self-conscious contemplation. Image: Scott Wolniak Dove, 2005 Cut paper over collage 8 1/2" x 11" Courtesy of Tony Wight / Bodybuilder & Sportsman, Chicago Gallery website Read on...Tony Wight / Bodybuilder & Sportsman, Chicago |
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Sherry Frumkin Gallery, Los Angeles Corey Stein : Trying to Pick up a GALLERY GUIDE [YDE] 
SHERRY FRUMKIN GALLERY is pleased to announce a solo exhibition of work by Los Angeles artist, Corey Stein. Trying to Pick up a Gallery Guyde is a series of pastel on paper works that express the artist’s frustration in finding the right match for gallery representation* in her professional life, and for a romantic partner in her personal one. Her playful self-portraits have an undertone of wistful sadness and her use of text involving riffs on words like mate, pair, double, couple and partner, among others, reveals a highly imaginative mind. Corey Stein’s work has always been about words. A severe epileptic from birth, she opted for risky brain surgery in 1991 to cure seizures that threatened her independence as an artist after graduation from Cal Arts in 1987. The affected area of her brain was dangerously near her speech center. Perhaps that accounts for her heightened awareness of the strange ways in which we use the same word for multiple meanings. When pressed to make a statement about her work, Stein responds that “English is my second language and Pantomime is my first - What is normal? What is idiotic? And who makes the rules?” In previous solo exhibitions with the gallery in 1992 and 1993, Stein’s quasi-autobiographical works were a delightful visual and linguistic visual stream of conscious tour de force. She was a student of John Baldessari who said of that “her images are unadulterated and joyful displays of exuberance that burst for the with indelible icons that burn into one’s mind –imprinted forever.” *Corey Stein stopped showing with Sherry Frumkin Gallery for more than a decade. Who knows if this will be a good match, or if she’ll pick up a new one? Image : Corey Stein, "Jew" (2005), "Gallery Guyde" (2006), "Dates" (2006) pastel on paper Courtesy of Sherry Frumkin Gallery, los Angeles Gallery website Read on...Sherry Frumkin Gallery, Los Angeles |
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 BLEU ACIER Inc,
Tampa Florida CONTROLLED BURN Robyn Voshardt / Sven Humphrey Bleu Acier is proud to open the winter season with CONTROLLED BURN, a solo exhibition of drawings and video by collaborative artists Robyn Voshardt / Sven Humphrey, formerly of Florida and now living and working in New York. In late 2005, the artists were awarded a Caldera Artist Residency in Oregon, where they made many of the works on view. Controlled Burn refers to the forestry practice of eliminating undergrowth and invasive species, with the goal of mitigating disastrous fires in the future. The artists used this idea as a point of departure, inspired by a two week stay in a mountainside area decimated by a burn gone way out of control. The resulting large drawings use the most basic materials derived from trees - paper and carbon-based ink - and the artists' own breath instead of a brush to apply it. This series continues to influence Voshardt/Humphrey's current projects that explore issues of control and intent on an environmental and personal scale: such as controlled growth in urban planning, and the surrender of control over to chance in their selection of materials and process for making art. On view in the Project Room is their video projection entitled When I Look Up, I Fall Down, from footage gathered on location in the forest with audio composed by the artists. Seen from a disorienting spin, the lush tree canopy no longer offers a sense of shelter, but creates a vortex suggestive of a larger ecological and personal conundrum. Voshardt/Humphrey have been included in numerous museum exhibitions on the west coast of Florida and the Boston area. Their work is in the permanent collections of the John & Mable Ringling Museum of Art in Sarasota, Tampa Museum of Art, Gulf Coast Museum of Art, and Pinellas County Arts Council. Concurrent with this exhibition, they have the new video in Solos II at Selby Gallery, Ringling School of Art & Design in Sarasota – in the 20th anniversary group exhibition. In 2006 they were awarded a Florida Individual Artist Grant and participated in the Bridge and Pool Art Fairs in Miami, as well as Perpetual Art Machine at CinemaScope New York and Miami. Image: Robyn Voshardt / Sven Humphrey Caldera 2, 2005 ink on vellum, 42 x 30 in. Courtesy of Bleu Acier Inc, Tampa Florida Gallery website Read on... BLEU ACIER Inc, Tampa Florida |
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 galerie zink
berlin yoshitomo nara + graf: Berlin Baracke For the first time, after Asia and the USA, Yoshitomo Nara + graf are going to start their collaboration project in Europe. Nara and a team of five from graf are therefore realising the largest installation planned for a gallery ever since. In the 300 qm of the gallery they are building a house with six rooms and an affiliated bar. Almost one hundred drawings and a dozen of paintings are exhibited in the „Berlin Baracke“. With the installation „Berlin Baracke“ Yoshitomo Nara and the Japanese designer - and architect group graf create a site of encounter for works of art and viewers beyond the White Cube. In specially build barracks Nara presents his new paintings, drawings and objects. The barracks are created ouf of used materials which set the works of the well-known artists Yoshitomo Nara into a new context. In the small, intimate rooms they emphasize the communicative aspect of his art and turn against any rituals of enthronement. Connotations to Arte Povera emerge. Nara’s portraits of children embody rebellion and the angry revolt against established structures. Anger and at the same time insecurity regarding the future as well as withdrawing are reflected in the concept of the barracks. 2003 Nara and Hideki Toyoshima, head of graf, met in Osaka and travelled together to Taiwan, Korea and Yokohama which was the starting point for their collaboration. The works they create examine the relationship between the individual, the room it is living in and the objects in this room. The exhibition opens on Febrary 10th, 2007 at 6 pm. The artists are present. Image: Yoshitomo Nara's studio © Hako Hosokawa courtesy Galerie Zink Berlin Gallery website Read on...galerie zink berlin |
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 Palos Verdes Art
Center, Los Angeles Marks, Scratches and Doodles “Marks, Scratches and Doodles” which is on display at the Palos Verdes Art Center from January 26 – March 17, 2007, explores the many and varied aspects of the world of drawing, from simple sketches to complex compositions. Participating artists: Srboohie Abajian, Sharon Allicotti, Barbara Berk, Terrill Cascia, Jennifer Celio, Judy Chan, Wes Christensen, Linda Flemming, Reneé Fox, Matthew Furmanski, Mark Steven Greenfield, Carol Goldmark, Ric Heitzman, Kiel Johnson, Eva Kolosvary-Stuplar, Peter Liashkov, Jim Murray, Susan Rush, Michael Salerno, Tom Smith, Michael Storrie, Harrison Storms, Daniel Sweetman, Jamie Sweetman, Joyce Weiss and Lawrence Yun From painting to architecture, drawing is basic to the visual arts. While, in its broadest sense, drawing includes every use of the delineated line, the word drawing is commonly used to describe works in pen, pencil, crayon, chalk, charcoal and similar media in which form, rather than color, is emphasized. A drawing can be either a preparatory study or a finished work of art in its own right. Man has been communicating by drawing since time immemorial—the hunter scratching a diagram in the dirt with a stick to show where he found game; the shaman using a piece of charred wood to make symbolic marks on a rock; the warrior marking his face with ochre before battle. The most ancient evidence of the production of art actually predates the generally accepted earliest dates for the appearance of modern humans. Cup marks and a meandering line were etched into a sandstone cave in India two or three hundred thousand years ago. By the Upper Paleolithic period, man’s drawing had become quite sophisticated. The famous cave paintings in northern Spain and southwestern France, dating back some 35,000 years, include the use of perspective, shading, realistic animal forms, hand stencils, movement and various pigments. “Marks, Scratches and Doodles” curated by Scott Canty, the Palos Verdes Art Center’s exhibitions director, is a collection of drawings by contemporary Southern California artists. Working in different mediums and styles, these artists demonstrate a variety of creative approaches to the depiction of their individual environments—the people they know and the places in which they live and work. Image: Michael Salerno “Terra Nova” 1995 oil on panel 96 x 96 inches (244 x 244 cm) Michael Salerno Center website Read on...Palos Verdes Art Center, Los Angeles |
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 Jack Hanley
Gallery, Los Angeles AURIE RAMIREZ - Curated by Matthew Higgs, White Columns, New York Jack Hanley Gallery is proud to present the first Los Angeles exhibition of the Oakland-based artist Aurie Ramirez. Since the early 1980s, Aurie Ramirez has worked at the Creative Growth Art Center in Oakland, CA. Creative Growth is a world-renowned workshop and art studio for adult artists with physical, mental and developmental disabilities. Aurie has a condition that shares many characteristics with autism. Notably she both speaks and writes in a language of her own devising. Over the past two decades Ramirez has created a highly idiosyncratic and extraordinary body of work – invariably watercolor drawings on paper – that echoes the visionary production of an artist such as Henry Darger. Both artists have created psychologically complex imaginary realms inhabited by a recurring cast of characters, scenarios, and narratives. From the outset Aurie's work has been inspired by her interest in manifestations of the “popular gothic,” e.g. the Adams Family, or the rock band Kiss. Focusing on works made over the past five years, Ramirez’s exhibition in Los Angeles will feature discrete groups of watercolor drawings that explore her ongoing, recurring, and fundamental interests. Aurie Ramirez (b.1962) lives and works in Oakland, California. Her work was the subject of a widely praised solo show at White Columns, New York in 2005, and a solo presentation at White Columns’ stand at the 2005 NADA art fair in Miami. Her work was recently included in ‘Mid Life Crisis,’ curated by Tara Subkoff for Salander O’Reilly Gallery, New York. In 2003 Aurie’s work was shown alongside that of Anthony Burdin, Tomma Abts, Jason Meadows, and Judith Scott, amongst others in Black Rainbow, Lucky Tackle Gallery, Oakland, 2003 (curated by Anne Collier.) She has shown in numerous group shows at the Creative Growth Gallery, Oakland, and in other exhibitions of work by Creative Growth artists at Southern Exposure, and the Yerba Buena Center for the Arts (both San Francisco), amongst others. The presentation of Aurie Ramirez’s work at Jack Hanley Gallery has been organized by White Columns, New York and developed in association with Creative Growth. Images: Aurie Ramirez Untitled, c.1999 Watercolor on paper 14 3/4 x 21 3/4 in. Aurie Ramirez Untitled, c.2000 Watercolor on paper 17 1/2 x 24 in. Courtesy of jack Hanley Gallery, Los Angeles and White Columns, New York Gallery website White Columns Read on... Jack Hanley Gallery, Los Angeles |
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 Matthew Marks
Gallery 521 W 21 ST, New York Robert Gober Matthew Marks is pleased to announce an exhibition of new work by Robert Gober. The exhibition will consist of two sculptures and several drawings, all made in the past year. These works continue to explore questions of vulnerability, nature, and history, all through the artist’s unique visual idiom drawing on vernacular American forms. In our 22nd Street gallery will be a sculpture of a plastic milk crate, resting on a cast of a wooden footstool and filled with sculptures of green Granny Smith apples. Lying across the top of the crate is a Winchester rifle that seems to have melted. Our 21st Street gallery will hold a cast of a wooden footstool with sculpture of an old packing blanket folded on the seat. Each sculpture is painstakingly handmade to look like the natural and machine-made objects they so closely resemble. Robert Gober’s work will be the subject of a major retrospective exhibition opening May 12 at the Schaulager in Basel, Switzerland. Image: Robert Gober Untitled 2006 Graphite on paper 12 x 9 inches; 30 x 23 cm Courtesy of Mathew Marks Gallery, New York Gallery Website Read on... Matthew Marks Gallery, New York |
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