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6 March 2007 | Drawing & Mixed Media March 2007 |
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 fette's gallery,
Los Angeles Bas Louter - Octagon fette's gallery is very pleased to present Bas Louter's first american solo show, Octagon, comprised of a series of large charcoal portraits on paper as well as an installation in which the figures are mounted on three dimensional elements creating a prominent and distinct tale. Often, the protagonists drawn by Louter are physical depictions of power and of a proud history. Yet, the pride represented has been forgotten and disarranged, and is dissolving into absurd arrogance. As the identity of each character isn't definitively put down, we remain questioning the very essence of representation and recognition, fascinated by the recurrence of such personalities through our History. With Sergei, the proliferation of his signs of honor seems to have literally stifled the man's expression. He is livid and out of place, quietly asphyxiating under his medals. Walther, on the other hand, wearing his oversized cap and his fixed grimace projects confidence with undertones of confusion still detectable. The journey that is Octagon conveys several passionate and sometimes ironic statements, from the abstract to the figurative, from two to three dimensionality and from historical narrative to spectacle. Bas Louter was born in 1972 in Alkmaar, The Netherlands. He lives and works in Amsterdam. This exhibition was made possible in part by a grant from The Netherlands Foundation For Visual Arts, Design and Architecture. A book published for the Octagon exhibition at fette's gallery will be released at the opening. Image on left : katalina, 240 x 180 cm, charcoal on paper, 2006 Courtesy of fette's gallery, Los Angeles Gallery website Read on... fette's gallery, Los Angeles |
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 Leo Koenig Inc.,
New York Kelli Williams - Tooth and Nail Leo Koenig Inc. is pleased to announce the opening of a solo exhibition of paintings and drawings by Kelli Williams entitled “Tooth and Nail.” For this much- anticipated debut, Kelli Williams has produced a series of modestly-scaled works that exude Boschian excess and complexity. In them, gentle and comforting hues belie the debauchery and profanity of the compositions. In her works, Ms. Williams attempts to create a kind of master narrative, so overheated and unstable that It collapses upon and subverts itself, achieving a kind of cathartic release. In keeping with the tightly wound compositions, a fetishistic and obsessive attention to detail is evidenced. The paintings include multiple figures painted on a chalk gesso ground with detailed drawings underneath. Because of the complexity of both the materials and the methodology, the works take an extraordinary amount of time to complete. This show is the culmination of 2 years of work. Kelli Williams’ work is, in her own words, influenced by kitsch and pornography. However, she is not interested in kitsch in a nostalgic sense but rather has an admiration for the way the genre depicts death, horror and the sublime in messy, uncontrolled and unironic ways. There is an affinity in thinking in Ms. Williams work, with cultural theorists such as Laura Kipnis who argues that the disgust exhibited by many feminists towards porn springs from a history of bourgeois desire to remove the distasteful from the sight of society, which links to a denial of the body, its orifices and desires. A cultural and anthropological interest in the genre is also evident, particularly with reference to ancient, quasi-religious beliefs about obscenity as a protection against death or the malice of others. In Ms. Williams imagination, these works act as talismans against the ugliness of the world, by instigating a subversive, rather than romantic form of escapism. Kelli Williams has an MFA from Yale University. She has participated in The Academy of Arts and Letters Invitational exhibition last year in New York City, and “Through the Looking Glass” at Galerie Bob van Orsouw in Zurich, Switzerland. This is her first solo exhibition. Image: Kelli Williams Baseball 2006 Color pencils 8 x 10.75 inches Courtesy Leo Koenig Inc., New York Gallery website Read on...Leo Koenig Inc., New York |
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 PLUSH, Dallas
TX Pedro Velez: Epilepsy, Pegatina, and Adult Porn Plush presents a comprehensive selection of recent collage work by artist vacationing in Puerto Rico PedroVelez. Titled after biographical facts and the Latin American slang equivalent to "wheat-pasting", the show will consist of 3 dozen works in his signature style of cut-and-paste misspelled graffiti-architectural marker cut-outs and acrylic paint splotches on pre- printed pages and his own photos of "bruised" models. A collage encrusted baseball bat titled "F MEGA JEW" that belonged to his father will round out the exhibition. An extensive online catalogue will feature images of every work in the show, along with interviews, essays and links to Mr. Velez' groundbreaking Myspace projects. The work of PedroVelez is a coming together of multi-disciplinary approaches and contextualist strategies where the artist questions the making of taste in contemporary society, the curatorial decision-making process, morality, and wishful thinking. His work involves collage, online publications, posters, photography, painting, sculpture, and collaborations with fellow artists. And, oh yeah, fake exhibition announcements. His projects have been written and published about in Frieze, The New Art Examiner, Boston Phoenix, The Miami Herald, ArtUS, The Breeder editions, and Collezioni Italy, among many others. Recent exhibitions include: "GODFUCK" at Galeria Commercial in San Juan, Puerto Rico and Western Exhibitions, Chicago; "The Earth is Flat", Lifebomb Gallery, Berlin; "Manic and Wasted" (curated by Randall Garrett), LMCC/Swing Space, New York City; "Constant Disturbance", Centro Cultural Espanol, Miami; and "Hell in LAMB UC" a poster project edition for NADA 2005, Miami. In December 2006, Velez curated "The DAMS" (young art from Puerto Rico) for Photo Miami. Image : Pedro Velez "LAMB" 2006 acrylic, marker, collage on c-print Courtesy of PLUSH, Dallas TX Gallery website Read on...PLUSH, Dallas TX |
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 Priska C.
Juschka Fine Art, New York Carolyn Salas : Against Stone and Sea Priska C. Juschka Fine Art is pleased to announce the opening of Against Stone and Sea, Carolyn Salas’ first solo exhibition in New York. In this installation, Salas transforms the gallery into a dynamic environment in which struggle and hope take form with symbols of folklore and mythology. In preparing her installation, Salas found inspiration in sources such as religious relics, folkloric images, history, the symbolism of dreams, and Greek allegory. Rather than pointing to a specific culture, she exemplifies the manner in which these images hold a universal meaning. Amongst the components of the installation are large stones made of foam and plaster and coated in a heavy black varnish, which embody the monumental and undeniable obstacles in life that one must overcome. Hanging from the ceiling is a highly reflective surface that mirrors the entire environment. Evoking ocean waves, it functions as a metaphor for the endless possibilities that exist in life—our hopes, passions, rewards, or dreams. The pinnacle of the installation is an image of a double-headed eagle, which appears in two different formats. Cast in bronze and platted in nickel, this seductive sculpture is positioned atop a 9 foot tower of tree stumps that Salas collected from her mother’s home in California. Its other incarnation is in dense layers of felt and surrounded by multi-colored rays that conjure the mythical phoenix. While this unique fetishized creature is an emblem bearing contradicting meanings of division, rebirth, and balance, here it appears as a human portrait—an embodiment of one’s own inner struggles. Linking the diverse components and framing the visitor’s experience is an archway of dream-catchers that one walks through upon entering the gallery space. This folk object has long been used for the purpose of preventing dreams from escaping one’s consciousness. The age-old desire stems from the belief that dreams are a source of enlightenment, as they meld all our positive and negative daily experiences, and assist us in making sense of them. Here, Salas wishes to create an adobe for contemplation where hardship and triumph join to reveal our inner-strength and resilience—enabling a cathartic experience to unfurl. Thus, she has quite literally created a space to get ‘caught up in a dream.’ Carolyn Salas in a native of California, who currently lives and works in New York. Image : Carolyn Salas Phoenix Rising Assorted fabrics, foam, glue and cardboard 72 x 84 x 4 in. 182.88 x 213.36 x 10.16 cm. 2007 Courtesey of Priska C. Juschka Fine Art, New York Gallery website Read on... Priska C. Juschka Fine Art, New York |
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 Fondation
Cartier pour l'art contemporain, Paris David Lynch : The Air is on Fire The Fondation Cartier pour l’art contemporain presents The Air is on Fire, an exhibition devoted to the multifaceted visual art creations of David Lynch. This event marks the first time that the filmmaker has made a large number of his paintings, photographs, drawings, alternative films, and sound production available to the public. It expresses the scope of his artistic creation with never-before-seen works, installed in an environment designed by him and complemented by a program of events, including live performances and concerts, that he created. Born in Montana in 1946, David Lynch spent most of his childhood sketching and painting. In 1965, he went on to study fine arts at the Pennsylvania Academy of Fine Arts in Philadelphia, where his passion for the moving image was stirred: working alone in his studio, he saw a soft wind gently move the objects stuck onto the canvas before him, and six months later, his first experimental short film was completed. This gave birth to one of the world’s most treasured filmmakers, and the youngest director to receive the Venice Film Festival’s Golden Lion for lifetime achievement, awarded in September 2006 after the premiere of his new film, INLAND EMPIRE (2006). Throughout his career, Lynch has actively continued painting, photographing, and drawing, and has even broadened his artistic practice to include animation, music composition, and sound production. Image : David Lynch The Air is on Fire Undated Marker on paper 10.3 x 15.2 cm Courtesy of Fondation Cartier pour l'art contemporain, Paris © David Lynch Gallery website Read on... Fondation Cartier pour l'art contemporain, Paris |
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 Danielle Arnaud,
London Annie Whiles : CUCKOO In ‘Misery’, Annie Wilkes (Kathy Bates) knows her prisoner has been out of his room because her miniature porcelain penguin has moved a few millimetres. It should have been facing due south, where she placed it. So she breaks his legs with a sledgehammer. Annie Whiles has placed her drawings of furniture and artefact in Danielle Arnaud's house and gallery, amongst her resident furniture and artefact. This arrangement attempts to compliment the gallery, in a proposal to furnish it. A mutual appreciation is assumed of an exacting approach to penguins and other birds. Whiles’ practice is rooted in a relationship between art and artefact. In recent work she has made embroideries and woodcarvings. These drawings have developed from looking at the cartoon process used in preparation for tapestry and also Gustav Stickley’s illustrative designs for Arts and Crafts interiors. For Whiles, both these examples of line drawing challenge their role as mediator between design and object. ‘Often the subjects chosen have an amazing starting point. Not because they are, within themselves, anything extraordinary or unique in terms of proposition or perspective but because they are very ordinary. She wants them to represent something other than their external manner. The lines describe what is not there. The drawings represent nothing and plenty more besides. To make that quality apparent her gesture must seem to disappear.’ Bernard Walsh 2007 Annie Whiles completed her MA in Fine Art at Goldsmiths College in 2000 where is now a lecturer in Art Practice. Recent group exhibitions include: Metropolis Rise, New Art From London, Shanghai and Beijing, 2006; Janus, Cafe Gallery, Southwark Park, London, 2006; Thy Neighbours’ Ox 2, Space Station Sixty Five, London, 2005; Cloud & Vision, Museum of Garden History, London, 2005; Death is Part of the Process, Void Gallery, Derry, Northern Ireland, 2005 The exhibition will be touring to Grundy Art Gallery in Blackpool in June 2007. Image: Annie Whiles Table Chairs and Cactus Bowl 2007 pencil on paper 152 x 122 cm Courtesy of Danielle Arnaud Contemporary Art, London Gallery website Read on...Danielle Arnaud Contemporary Art, London |
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 Riviera Gallery,
New York HAPPY LATE VALENTINES DAY a solo exhibition by street artist Matthew Rodriguez. Includes puppets, cartoons, paintings, drawings,photographs and video installations. Matthew Rodriguez was born and raised in Austin, Texas by two hippie parents. Babysat by a Doberman pinscher and black and white cartoons, he was content to scribble monsters and animals all over his childhood home without being disturbed by adult supervision. Twenty eight years later, Rodriguez's best-known work is his sing-along narrative paintings that illustrate the lyrics of his favorite songs by "following the bouncing ball", as in a vintage cartoon. Lyrics from songs such as "The Girl From Ipanema", "People are Strange" and Johnny Cash's "A Boy Named Sue" bounce across storyboard panels alongside whimsical scenes from the songs. His work can also be seen on the streets of each city he visits, both in huge pasted posters of Christmas tree monsters and frowning candy corns, and the sneaky addition of noses, mouths, and eyes to electrical boxes, fire hydrants, and trees, bringing to life otherwise overlooked inanimate objects. In the last 5 years, Rodriguez's paintings have been shown in Los Angeles' Lab 101 Gallery, Chicago's Foundation Gallery and DVA Gallery, and New York's Showroom Gallery, MF Gallery and the annual Deitch Projects parades. He has collaborated with Diesel and Vice magazine in 2003's "Raw Stitches" traveling exhibition, and currently has a piece touring with the Scion 3 installation, which will be auctioned off in LA this October at the Scion Gallery. Currently, Rodriguez is developing a television show starring his Muppet-like delinquent puppet named "Coupon" who enjoys DJing, tagging, scribing bathroom mirrors, and harassing stray animals. He has also been invited to create a limited-edition run of t-shirt designs for the upscale clothing boutique Factory People, available later this year. Image : Matthew Rodriguez Dog walking Rainbow, 2007 Courtesy of Riviera Gallery, Williamsburg, New York Gallery website Read on...Riviera Gallery, Williamsburg, New York |
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Boots Contemporary Art Space, St Louis MO 
Boot Print Volume 1 | Issue 1 Available Now Early in 2006, Boots Contemporary Art Space launched the idea of Boot Print, a publication dedicated to contemporary art and published by artists, that would serve as a non-commercial publication of cogitations, initiatives and information. Boots Contemporary Art Space is now proud to present the inaugural Issue of Boot Print. Volume 1, Issue 1 covers Boots exhibitions and happenings; looks at five different models of artist-run spaces in Mexico, Iceland, Turkey, and the United States; discusses forms of arts publishing and distribution; features Adelheid Mers insightful diagrammatic chronicle alongside Vilem Flusser's Crisis of Linearity (1988), the first translation into English; and last, speaks with established curatorial voices about their practice, the local and international art scene, as well as the debutant Destroy Athens Biennial. Boot Print will reach 2000 art professionals via postal mail in the United States and abroad; 3000 via email in its electronic form. It will be available at Boots Contemporary Art Space and can be downloaded here. Boots Contemporary Art Space thanks the Boot Print advertisers, the St. Louis art community and the Boot Print friends for funding our vision. Submissions Boot Print welcomes contributions that choose to discuss Art beyond the known institutional walls, geographical art centers, and parameters of the Artdome. Boot Print is available online and is distributed to Art spaces, centers and institutions; and art professionals around the world. Boot Print invites contributors from all art corners of the world to illuminate the art activities, projects, theories, and convictions responsible for affecting you on a personal, political, socioeconomic or cultural level. Boot print will consider: interviews, articles, reviews, critiques, researches, prose, caustic cartoons, and anecdotes. All this and more are wanted and appreciated. Submissions are welcomed by anyone sincerely involved in the promotion, production, and consumption of Contemporary Art. Visit the Boot Print page regularly for updates and calls for submissions. Submission deadline for Boot Print issue No. 2: Friday, October 1, 2007. All contributors will be contacted once the final selection of texts is completed in October 2007. For other inquiries contact Editor-in-chief Georgia Kotretsos. Gallery website Read on... Boots Contemporary Art, St Louis |
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