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18 July 2007 | re-title.com newsletter - Drawing & Mixed-Media July 2007 |
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 WESTERN
EXHIBITIONS, Chicago PRINTED SPACE Or, Why So Many Contemporary Artists Are Preoccupied By The Collection And Display Of Many Small, Printed Pages A Survey Of A Tendency In Contemporary Art With Works By: Walter Andersons Tyler Britt Angee Lennard John Neff Melissa Oresky Amanda Ross-Ho Scott Short Aaron Van Dyke Pedro Velez 14 July - 18 Aug 2007 "Over the course of the past thirty years mainstream contemporary art's attention has shifted between the picture and the page. That is, the production and discussion of artists and art writers has privileged images and structures in turn (e.g. the 1980s passage from neo-expressionism to neo-geo, or the similar recent shift of emphasis from Gothic figuration to forms of conceptual montage). A new generation of artists is attempting to synthesize these approaches, to make works that fuse an investment in pictorial effects with a deep concern for and investigation of the structure of art objects and the systems through which such objects are distributed. The small, printed page (photocopies, laser prints, cheap color photos and altered advertisements) is a primary medium of this new art. Such art is informed by, documents and in some cases attempts to work against the increasing virtualization of daily life and the psychological, social and political effects attendant to that change. As the Cubists, Futurists and Dadaists imbricated the stuff of industrial society into representations of their changing worlds, so young artists today incorporate the images and techniques of the information age, striving to give body and form to a culture on the verge of a sinister immateriality." Printed Space, collated by Scott Speh and featuring an essay by John Neff (draft excerpted above), will be on view in Western Exhibitions' Plus Gallery from July 14 through August 18. At the close of the show the gallery will publish a small Xerox catalog containing reproductions of exhibited works and a version of Neff's essay. Image: Aaron Van Dyke Untitled, 2006 wood, polyurethane foam, inkjet prints, mylar, hardware. 27.5" w x 20" d x 25.5" h Courtesy of WESTERN EXHIBITIONS, Chicago WESTERN EXHIBITIONS, Chicago Read on... WESTERN EXHIBITIONS, Chicago |
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 Lehmann Maupin,
New York Duet : Michael Bauer, Victor Man, David Noonan 28 June - 10 Aug 2007 Lehmann Maupin Gallery is pleased to present Duet, a group exhibition curated by Sylvia Chivaratanond. Duet, featuring Michael Bauer, Victor Man, and David Noonan, brings together a group of artists whose art practice is at once disparate and analogous to the current milieu of contemporary art. The work in the exhibition deviates from typical representational portraiture, thus creating an uneasy relationship between painting, sculpture and film. Each artist's practice is varied as they set up their own dichotomies as in Michael Bauer's paintings and drawings. Bauer's (b. 1973) work appears at once to be haphazard abstract forms and mapped figurations. The paintings and drawings, although playfully sophisticated, resonate a discomfort as monstrous forms emerge from a seemingly poetic zone. Anthropormorphic figures gel with refined geometric shapes that call to mind the work by Futurists artists such as Giacomo Balla and F.T. Marinetti. Victor Man's (b. 1974) wall drawings and paintings/sculptural assemblages are tempered by traces of memory and fragmentation, both geographical and ideological. His work allows for an open interpretation as well as a very distinct identity borne out of the region he comes from. David Noonan's (b. 1969) 8 mm films and photomontages expand upon Western and Eastern folkloric mythlogies as well as the often dark and sombre side of humanity. Though influenced by 1970s sci-fi and horror films, Noonan's immediate sources are anonymous. However, many of the scenes in his films and photomontages include ritualistic gatherings, theatrical role-playing, or masked figures. The images, many in black-and-white, remain out of focus and difficult to translate, choosing a visual language that confuses narrative with abstraction. Each artist draws from distinct personal and collective experiences as in the physical and mental isolation that implies living and growing up in Northern Germany, Ballarat, Australia and Transylvania, a province of Romania. Born in Erkelenz, Germany, Michael Bauer lives and works in Cologne. Helena Kontova and Giancarlo Politi included Bauer in the recent Prague Biennale 3 and his work was also on view at the Germania exhibition at the Saatchi Gallery in London. Michael Bauer is also the founder of Brotherslasher Cologne with Tim Berresheim. Victor Man born in Transylvania, Romania and lives and works in Cluj and was also included in the Prague Biennale 3. He will represent Romania at the upcoming Venice Biennale. David Noonan was born in Ballarat, Australia and currently lives and works in London. His work has been shown in numerous exhibitions worldwide most recently a solo exhibition at the Palais de Tokyo in Paris and the Tate Modern in London. Image: MICHAEL BAUER Einer von Osten, 2007 charcoal on paper 11.7 x 16.5 inches Courtesy of Lehmann Maupin, New York Lehmann Maupin, New York Read on...Lehmann Maupin, New York |
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 JEFF BAILEY
GALLERY, New York Jon Rappleye : Awakened in the Peaceable Kingdom 10 July - 3 Aug 2007 Jeff Bailey Gallery is pleased to present Awakened in the Peaceable Kingdom, an exhibition of new drawings and sculpture by Jon Rappleye. The exhibition's title is inspired by Edward Hicks' (1780 - 1849) series of paintings, Peaceable Kingdom, where the worlds of nature and humankind coexist symbolically in a peaceful idyll. Hicks' vision was reverent and hopeful, but tempered with concern for the darker and destructive impulses of both animal and man. Rappleye's drawings feature abundant and extraordinary groupings of animals, birds and plant life. There are no humans. Birds and animals are combined into new, unfamiliar creatures. In In the Quiver of the Kingdom, a proud peacock towers over an ashen landscape with stormy, jewel-toned skies. Volcanoes rumble in the distance. Birds fly frantically about, while some have died. An omniscient owl gazes at the scene that suggests the end of one era, and the unknown beginning of another. In Awakened in the Peaceable Kingdom, a heron's body has the head of a deer. It nears a ravine, where a large rabbit looks on. The head and wings of an owl are adjoined to the body of a frog, large mushrooms teeter, and an owl with antlers perches idly. The exhibition features an owl with antlers cast in china, surveying these vast panoramas. A pile of china antlers, multi-colored and flocked, lies in a tangle of wires and plastic tubing on the gallery floor. Like fairy tales, in Rappleye's drawings and sculptures there is an air of magic and unreality to familiar things. Will nature ever become this perverted and strange? As animal and bird species die, evolve or are destroyed, what will take their place? What are the ramifications of an ever increasing human population and technology on the natural world? In Nightwood Bloom, a stoic deer has lost one of its antlers, in what appears to be a natural process. Yet the head of the deer sprouts a wire, which had been connected to the antler. The deer appears healthy, and perhaps, against unknown forces, will survive. This is Jon Rappleye's second exhibition at the gallery. His solo exhibition, Out of the Silent Planet, is on view at the Jersey City Museum, New Jersey, through August 12. Upcoming solo exhibitions include, Strange World, at the Salina Art Center, Salina, Kansas (fall 2007) and the Clough-Hanson Gallery, Memphis, Tennessee (early 2008). He was recently an artist-in-residence at the John Michael Kohler Arts Center in Sheboygan, Wisconsin, where he made the cast china sculptures featured in the exhibition. He lives in Jersey City, New Jersey. Image: Jon Rappleye "Awakened in the Peaceable Kingdom", 2006 acrylic on paper 38 x 50 inches Courtesy of JEFF BAILEY GALLERY, New York JEFF BAILEY GALLERY, New York Read on...JEFF BAILEY GALLERY, New York |
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 Galleri Nicolai
Wallner, Copenhagen David Shrigley Monotypes 6 July - 11 Aug 2007 It is with great pleasure that Galleri Nicolai Wallner presents Monotypes, an exhibition with monotypes by David Shrigley. The monotype represents a special visual expression combining printmaking, painting, and drawing. The artist works by applying pigment that is rolled, brushed, or drawn onto a plate and then, with the paper that is to accept the impression, "pulled" with the use of a press. The appeal of the monotype lies in the unique translucency that creates a quality of light very different from a painting on paper or a print. The beauty of this media is also in its spontaneity and the ease in reworking images before transferring them to paper. Monotypes are inherently unique because almost all the ink transfers to the paper making it impossible to make more than one print, hence the prefix mono. Accordingly they are valued on the same level as other original works like drawings and paintings. Shrigley constructs a world of his own upon the rubble of the world. Chaos and dislocation (of the body, society, and language) do not occur obsessively from one work to the next for no reason. Instead they seem to express a fundamental mistrust of the fluency of pictures and transparency of meaning. Nevertheless, the artist is endowed with an exceptional aptitude for producing eye catching images and turning our attention to the absurdities of life. Shrigley's work is marked by a very distinct style that can be misread as loose and offhand. Though they bear the appearance of disorder - looking like every image was his first, they rather express a very disciplined way of working within specific aesthetic boundaries. The crudeness of the lines belies an artistic temperament that is both meticulous and sensitive. David Shrigley has shown extensively at galleries and museums in Europe and America including solo shows at Musee d'Art Moderne et Contemporain (Geneva), UCLA Hammer Museum (Los Angeles), and Kunsthaus Zürich. Image: David Shrigley Untitled (Plane bombing city) (2007) Monotype on paper 100 x 70 cm Unique Courtesy of Galleri Nicolai Wallner, Copenhagen Galleri Nicolai Wallner, Copenhagen Read on... Galleri Nicolai Wallner, Copenhagen |
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 THIERRY GOLDBERG
PROJECTS, New York THE ATROCITY EXHIBITION Ahmed Alsoudani Ben Grasso Wendy Heldmann Molly Larkey 28 June - 28 July 2007 THIERRY GOLDBERG PROJECTS is proud to present THE ATROCITY EXHIBITION, a group show featuring work by Ahmed Alsoudani, Ben Grasso, Wendy Heldmann, and Molly Larkey. The selected work represents destruction and disaster while moving from moments of suspended explosion to its aftermath. THE ATROCITY EXHIBITION borrows its name from the J.G. Ballard novel of the late sixties. "This is the way, step inside.. Take my hand and I'll show you what was and will be." Joy Division, "Atrocity Exhibition," Closer, 1980. Ben Grasso's drawings present explosions at the moment of their becoming, not before or after. In this sense, he avoids any sentimental reaction--a world torn apart without comment. The appeal and fixation of such images confronts the viewer with the destructive nature within. As J.G. Ballard has said, "It's a mistake to hold back and refuse to accept one's own nature," and Grasso's work holds this in regard. As isolated explosions, it is impossible to discern any context whatsoever in the drawings. Without any hint of cause, one is unable to figure if this was a direct hit or an arsenal exploding on itself. Explosion reaches its most formal point in Molly Larkey's Bomb series. This formalization sites a distance from the actual catastrophe of the atomic bomb. Her sculptures bring to mind Isa Genzken's play between the object and its pedestal as she nods to the constructions of Franz West. The visual weight of the mushroom clouds sculpted in Hydrocal serves to monumentalize the explosion. The atom bomb is an object of contested negotiation, and Larkey's commodification of it takes on that value. Ahmed Alsoudani's work, whether or not dealing directly with the war in his native Iraq, conveys empathy for human suffering. Depicting ambiguous scenes of violence, he scatters weapon and body parts across the picture plane. These compositions of mixed parts capture sudden confusion in unique balance between pure form and reality. Alsoudani employs that vocabulary to convey present day wartime horrors while alluding to the early works of Gorky or de Kooning at their transition period from figure to form. In the back room, Wendy Heldmann presents the aftermath. Through a suite of small-scale paintings, she explores the intricacy and delicacy of defeated structures. These buildings have either fallen victim to the violence of war or to nature. The series documents architectural remains in a timeless sense without any indication of when, what decade, the disaster occurred as all style is obliterated. Emotion too disappears as Heldmann extrapolates reactions to such disasters for banal titles such as What can we say and None of the senses can come to it. Heldmann's work lingers over the wreckage flirting with disaster. Ahmed Alsoudani lives and works in New Haven, Connecticut. He holds a BFA in painting from the Maine College of Art, Portland, Maine, and is currently working on his Master's degree in painting at Yale University, New Haven, Connecticut. His work has been exhibited at The Museum of Contemporary Art, Portland, Maine; The Gwangju Museum of Art, Gwangju, South Korea; and at Filament Gallery, Portland, Maine. Ben Grasso lives and works in New York. He received an MFA in Painting from Hunter College, New York; a BFA in Painting from The Cleveland Institute of Art, Cleveland, Ohio; and has studied at the Edinburgh College of Art, Edinburgh, Scotland. Grasso's work has been exhibited at Sixtyseven Gallery in New York (solo); Agenzia 04, Bologna, Italy; White Columns, New York; Momenta Art, Brooklyn, NY; and at Bucket Rider Gallery in Chicago, IL. Wendy Heldmann lives and works in Los Angeles, California. She holds an MA from Goldsmith's College, London, England, and a BFA from The San Francisco Art Institute, San Francisco, California. Her work has been exhibited at sixspace (solo), 4F Gallery (solo), Cirrus Gallery, and New Chinatown Barbershop in Los Angeles; The Torrance Art Museum, Torrance, CA; and at Kenise Barnes Fine Art, Larchmont, NY. Molly Larkey lives and works in New York. She holds an MFA from Rutgers University, New Brunswick, NJ and a BA from Columbia University, New York. Her work has been exhibited at PS122 (solo), Artists' Space, The Drawing Center, Roebling Hall (Satellite), Esso Gallery, Marvelli Gallery, and Jack the Pelican Presents in New York, and at Samson Projects, Boston, MA. Her most recent work is currently on view in a project room at P.S.1., LIC, NY. Image: AHMED ALSOUDANI Opened Ground, 2007 charcoal pastel and acrylic on paper 80 x 105 inches. Courtesy of THIERRY GOLDBERG PROJECTS, New York THIERRY GOLDBERG PROJECTS, New York Read on... THIERRY GOLDBERG PROJECTS, New York |
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 GALERIE REINHARD
HAUFF, Stuttgart Josephine Meckseper 6 July - 13 Oct 2007 Galerie Reinhard Hauff is pleased to announce the July 6th opening of the German born New York artist, Josephine Meckseper's third solo show. This exhibition coincides with Meckseper's first solo museum show at the Kunstmuseum Stuttgart from July 13th through October 28th. Josephine Meckseper is an internationally recognized artist, known for her constructed vitrine scultptures which confront the commodification of culture, displaying demonstration photographs next to the latest fashions. She has an extensive exhibition record with her participation in noteworthy exhibitions and biennial contemporary art shows such as the Whitney Biennale in 2006 and the Moscow Biennale in 2007. The Kunstmuseum Stuttgart presents the first extensive mid-career survey of Josephine Meckseper's multimedia work on four floors of the museum with over 150 works from Meckseper's oeuvre consisting of large installations, window displays, sculptures, paintings, photographs and films. Galerie Reinhard Hauff organizes Meckseper's solo exhibition within the context of her stylistic and conceptual developments. In the photographs, collages, paintings and shelves, included in her first solo show at Galerie Reinhard Hauff in 2001, Meckseper scrutinized signs and symbols of German national identity and political affiliation. In the course of this introspection, Meckseper re-fashioned symbols like the German flag, the cover of "Spiegel" magazine, the conservative (now governing) CDU and CSU party logos and Angela Merkel election campaign posters with glitz and glossy magazine iconography. Also in the 2001 exhibition, Mecksper's first shelves introduced a form of display for her revamped sign language. The shelves gave sculptural form to an intriguingly seductive and humorous convergence of fashion and politics which was unique in Mecksper's art. With 9/11, Meckseper's focus turned to the global outrage and protest against the Iraq war. Her first series of anti-war demonstration photos were done in Berlin in 2002. In the German demonstration photos on view, such as "Untitled (Berlin Demonstration Series 2)", 2002 (5 C-prints), there is a lot of police - representing the important role of uniformed authority, law and order in Germany. The New York demonstration photos, which then followed in 2003, look like a dèjà vu of the hippie and anti-Vietnam War movements from the 60's and 70's - complete with a revival of their "make love not war" protest signs. Together with "Untitled (March on Washington, September 24, 2005 Series 1)", 2005 (5 C-prints), the Berlin and New York Demonstration Series draw attention to the look of protest culture and the fashion accessories associated with it. Taking the shelf display idea one step further, Meckseper's 2004 show at the Gallery introduced her first built-in vitrines such as "Selling Out", 2004, and "Die Wüste des Realen", 2004, installed in a large window at the entrance level of the Galerie Reinhard Hauff building which also houses the Stuttgart Verbraucherzentrale or Consumer Protection Agency. (Both works are now in the Kunstmuseum show). Such make believe shopping windows, highlighting discounted merchandise and political ideology paraphernalia, exploit the subliminal message modes of our consumer society. It was these large scale vitrines which gave Meckseper international recognition and her inclusion in the recent Biennials. For the Gallery's current show, the artist borrows again the Verbraucherzentrale window in the Gallery building where she will combine the distinct Verbraucherzentrale Deco esthetics with her own, adding photos, 70's record covers by Abba, Amanda Lear and Donovan to purchases from local shopping malls and drugstores. Since 2006, and in her current work, Meckseper has made an increasing number of freestanding sculptural works and large scale paintings, as well as installations. The enigmatic "Untitled (Subway Duster)", 2007, a central work in this gallery show - consists of a collage on canvas, combined with a feather duster and plaster foot composition on a plexi pedestal, containing a crumbled newspaper page. A pair of life-size photographs in the show explore another angle of the lure of the vitrine aesthetic: In a shiny, lit shopping window, the Summer 2007 Collection of XXL size bras, corsets, and orthopedic merchandise offered by the Stuttgart retailer Sanitätshaus Hofmann ("Sanitätshaus Hofmann No. 1 and No. 2", 2007) is presented to it's best advantage and in the language of it's target audience (illustrated on the invitation card). With two diptych collage compositions and a "Ralph Lauren Series",both from 2007, large fashion magazine advertisements and paint on canvas exemplify how collage and the extension of the collage principle continue to be the basis for Meckseper's multimedia work. Image: Josephine Meckseper Sanitätshaus Hofmann No. 2, 2007 C-Print 160 x 233 cm Courtesy of GALERIE REINHARD HAUFF, Stuttgart GALERIE REINHARD HAUFF, Stuttgart Read on...GALERIE REINHARD HAUFF, Stuttgart |
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