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30 May 2007 | Drawing, Painting, Mixed-Media May 2007 |
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Van Horn, Dusseldorf JAN ALBERS "SONNENLICHT" (SUNLIGHT) May 12 - June 30, 2007  Jan Albers works in constant hover between reality and phantasy, between figurative and abstract. The exploding coloured lines, which mark his papers, reveil the intensity of his artistic research .The bright colors and sharp lines, drawn in pencil with a geometric accuracy, partially hide the figures that he intends to portray, favoring an abstract reading of the artworks. After a deeper analysis their portrait nature appears more clearly. The title of the show "Sonnenlicht" (Sunlight) reveals the vital energy of his pieces and references the wall- covering chalk-drawing, which fills with it's rays the entire gallery. The walldrawing expands, proceeding from the paperworks, like an echo over the space and transforms the gallery into an obscure cult-space. Christian associations mix with Aztek sun cult and childbook illustrations. The source of the pieces is hard to decrypt. It ranges from depictions of Jesus Christ to Hippie Clischées, from bearded Lumberjack-types to Dschingis Kahn and Tom Selleck. Famous characters alternate with figures which belong to the private or imaginery sphere of the artist. In powerful drawings they are cited unhierarchically ,mixed and transformed in a brilliant chromatic synthesis. Jan Albers *1971, lives and works in Dusseldorf. He exhibited widely in international galleries and institutions like a.o. Sara Meltzer Gallery, New York; Konrad Fischer Galerie, Dusseldorf; CAM, Chelsea Art Museum, New York; Museum Het Valkhof, Nijmegen; Museum Baden, Solingen; Galerie Tanit, Munchen; Jablonka Galerie, Koln; Palazzo delle Papesse Centro Arte Contemporanea, Siena, San Antonio Museum of Art and much more. In 2006 he received a Pollock Krasner Foundation Award. "Sonnenlicht" is his second solo-exhibition at VAN HORN. Image: Jan Albers Sonnenlicht Installation View at VAN HORN, Dusseldorf Courtesy of VAN HORN, Dusseldorf Gallery website Read on... Van Horn, Dusseldorf |
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 Jeff Bailey
Gallery, New York Julian Pozzi : Here's The Plan 30 May - 30 June 2007 Jeff Bailey Gallery is pleased to present Julian Pozzi: Here's The Plan. Julian Pozzi's paintings on paper weave architecture, bodies and landscape into intricately gridded and ghostly structures. Buildings and bodies are wildly improvised, treating space and the human form as both formal and concrete possibilities. In both large and small scale works, space contracts, envelops, and flattens out - playfully and sometimes implausibly. Through hot and cool colors, varied mark marking and line, Pozzi's work suggests multiple readings and vantage points within each piece, offering the viewer different and transitory interpretations of apprehended space. His process of thoughtful wavering between fidelity and improvisation yields transformations from exterior to interior, and from architectural to organic. This is Julian Pozzi's second exhibition with the gallery. His work has been exhibited at White Columns, New York; Atelier Cardenas Bellanger, Paris; Golinko Kordansky Gallery, Los Angeles; and most recently at Public Storage/Temple Hospital, a screening of videos organized by John Pearson at Mandrake in Los Angeles. He lives and works in New York. Pozzi is also the organizer for Youth and Anti-Youth, a nomadic curatorial enterprise begun in Brooklyn in 1999. Concurrent with his solo exhibition, Youth and Anti-Youth will present a collection of photographs and videos by John Pearson in the office space at the gallery. Dominated by the Sun, Submissive to Every Obstacle, is an array of work drawn from Pearson's involvement with the landscape and light of Los Angeles; using the dynamics of a photographic practice aligned more with bodily vision than the rational mechanics of the camera. Pearson's videos incorporate time and serialized structure into pragmatic and tactile explorations of perception and photography. He lives and works in Los Angeles. Image: Julian Pozzi Father and Son, 2007 ink, watercolor, acrylic and gouche on paper 55" x 38" Courtesy of Jeff Bailey Gallery, New York Gallery website Read on...Jeff Bailey Gallery, New York |
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 The Apartment,
Athens Greece AMY ADLER The Lesson 24 May - 14 July 2007 The Apartment is pleased to announce the beginning of its collaboration with American artist Amy Adler with an exhibition of new works titled 'The Lesson'. Amy Adler's work examines notions of authorship through a conceptual negotiation of both 'drawing' and 'photograph' and through the questioning of the relationship of artist, subject and viewer. For a number of years, Adler has been setting up 'situations' that she would capture with her camera, then make drawings out of the photographs, and ultimately photograph the drawings. The drawings would then turn into one unique photographic work, following the destruction of the original negatives and drawings. During the last few years the artist has moved away from the photograph as the end result of her practice and has been exhibiting works on canvas. The working method remains the same, only this time the procedure is reversed. 'Adler is literally pushing against her materials, asking canvas and pastel to function in a way contrary to their design. But, this is exactly her intention - a subversion of the essential nature of her media." (Rachel Teagle, curator, Museum of Contemporary Art, San Diego, 2007) Cay Sophie Rabinowitz, author of Adler's monograph, writes how Adler's 'photographic subjects, her photographic documents and her drawings can be seen as surrogates in the studio that watch and keep track of her, but that can also be made subject to her complete control (..)Such control mechanisms seem to anticipate vulnerability and aim to recapture the authority relinquished through desire, through interpersonal relationships and through exposure to the public with its conventions and institutions'. It is this enactment of identity, both the artist's own as well as that of a public figure - a frequent subject in Adler's work- that is central in understanding Adler's complete project. Her series ' Amy Adler photographs Leonardo Di Caprio' is evidence to an inherent tension between anonymity, identity and performativity, while 'Young Photographer' can be read as a 'self- portrait'. Her new series 'The Lesson' (all works 2007) takes inspiration from amateur chess players. The source material is again photographic and continues Adler's exploration of the medium's possibilities as well as the role and function of (self) portraiture. The four large paintings that comprise her Athens show depict a mother playing chess with her daughter, bringing out the inherent tension and antagonism in the mother- daughter relationship as well as issues of gender and identity formation. Amy Adler has recently held solo museum exhibitions at the Aspen Museum of Art, Aspen, Colorado (2007) and The Museum of Contemporary Art, San Diego (2006-7). Past museum solo exhibitions include Hammer Museum, Los Angeles (2002), Photographer's Gallery, London (2001) and Museum of Contemporary Art, Los Angeles (1999). Her work is internationally collected; public collections include The Museum of Contemporary Art, Los Angeles, The Broad Foundation, Santa Monica, The Saatchi Collection, London, the Deste Foundation, Athens, Greece and others. Image: Amy Adler The Lesson #1, 2007 Pastel on Canvas in wooden frame, UV plexi 97 x 97 cm, 38 x 38 inches Courtesy of The Apartment Gallery website Read on...The Apartment, Athens |
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 Black &
White Gallery // Chelsea & Williamsburg En Plein Air RELOADED June 7 - July 16, 2007 Part I on View at Black & White Gallery // Chelsea June 7 - July 14, 2007 Opening Reception: Thursday, June 7, 6-8pm Part II on View at Black & White Gallery // Williamsburg June 8 - July 16, 2007 Opening Reception: Friday, June 8, 6-9pm Black & White Gallery is pleased to present En Plein Air RELOADED, a multi-venue group exhibition featuring indoor and outdoor works by nine artists who employ diverse materials and techniques to address the uneasy balance between the natural and the constructed environment. Contrary to the notion of painting en plein air, artists in this exhibition create their landscapes in their studio. As a result, the romantic landscape is dismissed as a cliché, yet "reloaded" as postmodern foil to the inescapably synthetic reality of urban experience. The works range from the evocative paintings of Amy Talluto, Michael Van den Besselaar and Andrew Casner, to the photographic fantasylands of Fiona Gardner, to the elaborately bottled and boxed natural landscapes of Kim Holleman and Kathleen Vance. The idea of a rift between society and nature emerges in Claudia Hart's 3D animated film, which reworks a Renaissance appreciation of the pastoral while erasing all traces of human presence or civilized habitation. A darker side to this tense relationship emerges in images of environmental destruction, figuring strongly in Kim Holleman's table-top model of a cake sculpted from toxic waste and Christopher Duffy's oxidized lawn. In the outdoor site- specific installation, Lauren Luloff gets caught up in her own emotional seascape between memory and future by exposing fragile fabrics and paint to the grandiose horizons of the physical world. The intriguing relationship between these artists is the way in which they explore memory, travel, fantasy, escape and subvert the traditional genre of landscape. Artists included: Michael Van den Besselaar Andrew Casner Christopher Duffy Claudia Hart Kim Holleman Fiona Gardner Lauren Luloff Amy Talluto Kathleen Vance Image: Amy Talluto Pond, 2006 oil on canvas 60"x 74" (152.4 x 188 cm) Courtesy of Black & White Gallery // Chelsea // Williamsburg Gallery Website Read on... Black & White Gallery |
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 Goff+Rosenthal
Berlin Scott Hunt : Death and the Maiden 16 May - 7 July 2007 Goff+Rosenthal is proud to present Death and the Maiden, a solo exhibition of new works on paper by New York- based artist Scott Hunt. Scott Hunt's charcoal drawings are exquisitely- rendered anachronisms, recalling faded snapshots of seemingly simpler times through the artist's black and white palette. Darkly comic and meticulously realized, these works focus on female subjects in ironic or absurd compositions, reminding the viewer of the tragedy and conflict that invariably lurk behind even the most innocent façade. For this body of work, Hunt drew on influences as diverse as Edward Hopper, Charles Addams, Gabriel García Márquez, Andy Warhol, Andrea Mantegna and Joyce Carol Oates. In Death and the Maiden Hunt subtly juxtaposes iconic imagery of love and beauty with fatalist symbols of death and destruction. In Gilding the Lily, a young woman reminiscent of a 1950's pin-up model hoses down a coffin in her suburban backyard. Pursuit shows a young, almost prepubescent bride, posing on the chapel steps. Shining in her white wedding dress before the shadows of the church's interior, butterflies surround her head, inviting the comparison of moths to a light. In many ways absurdly grotesque, Hunt's imagery is also hauntingly beautiful and enigmatic. By borrowing source material from discarded photographs found at flea markets, Hunt is able to create narratives that are at once horrific and humorous, melancholic and joyful. Scott Hunt was a recipient of the prestigious Pollock- Krasner Grant in 2006. He has exhibited his drawings in numerous group shows in Brooklyn and New York. His work has been published in the New Yorker, Harpers, The New York Times Magazine, The Boston Globe and The Washington Post, among others. Hunt's book, Twice Told- a collection of short stories inspired by his drawings- has been honored by the American Library Association as one of the 10 Best Art Books of 2006. This is his first solo exhibition in Europe. Image: Scott Hunt Death and the Maiden, 2007 Charcoal on paper / Kohn auf Papier 36.25 x 42.75 inches 92.1 x 108.6 cm Courtesy of Goff+Rosenthal Berlin Gallery website Read on... Goff+Rosenthal Berlin |
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 Jack the Pelican
Presents, New York GOOD GIRL Paintings by Sarah Bereza 12 May - 10 June 2007 Sarah Bereza paints "Good Girl." She is the privileged, daddy-bonding American in pearls. Skinny blonde girls marry rich men-- and Kappa Kappa Gamma is the blondest sorority in America. Bereza, while attending the University of Michigan, was a dutiful member of the committee to punish bad sorority girls. Good is not the same as dumb. It is a useful conceit and a marvelous game. Mom approves. There is a somewhat naivete to Bereza's paintings, reminiscent of seventies Brit pop artist Peter Blake. Twizzlers and Starburst are accessories as important as Haviana flip-flops, underwire bras, Mac lipstick, Trojan condoms and marabou shrugs. One sees in these works the simple, stylized happiness of Sylvia Sleigh venus boys. Fashion designer Betsey Johnson is a major influence on the artist. She likes it ever so slightly trashy. Five years in London gave Bereza a new respect for white hooker boots. The good girl," she notes, "enjoys a buffer zone of decadence." There needs to be a little tease in the sport, after all. Thus Bereza's affection for the spilling bustier of Rubens, and all things Rubens. Bereza is also influenced, for those who know the work, by the figurative paintings of Matthew Cerletty, who shows at Rivington Arms. The two had adjacent studios above Burr Dodd's Brooklyn Fireproof in Greenpoint. But at heart, Bereza is still Kappa Kappa Gamma Womanly and True . ® Her scrutiny may be unforgiving, but it is also dear. Sarah Bereza had her first solo show last year at Real Art Ways in Hartford. This is her New York solo debut. Also showing: Jack the Pelican presents for your viewing pleasure "Baby Bowies," a group exhibition curated by Walter Benjamin Smith. This show highlights four young artists, Justin Lieberman Jina Valentine, Jason Loebs, and Matthew Siegle, each of whom has pressed fast forward on the Bowie button of shape-shifting their artistic identities with a new level of self-awareness and rapidity. These unpredictable young Americans control ch-ch- changes of mark, medium, and intent creating a rich and divergent output that puts identity and meaning in flux. Image: Sarah Bereza Courtesy of Jack the Pelican Presents, New York Gallery website Read on...Jack the Pelican Presents, New York |
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 galerie OPEN,
Berlin Jeffrey Teuton : Dracula, a Snake, and Narcissus walk into a bar.. 24 May - 7 July 2007 galerie OPEN is pleased to announce the first solo exhibition of Jeffrey Teuton in Berlin - "Dracula, a Snake, and Narcissus Walk Into a Bar.. " Dracula, the Snake and Narcissus, are "creatures" which can be found in the works of Jeffrey Teuton. These creatures represent people and forces that have crossed his path and orbited around him over time. More frequently these beings have been coming in to the artists "bar" and have been competing for face time. One needs to understand that Jeffrey is not playing the sheep here. He has spent his share of time dressed up as the characters one can see at the party and can also be found in his glamour trash - fuck off images. These situations accompanied with character traits consist of; the one who takes and takes but wont let go, the one who just devours whole, and the one so in love with himself - all these three self chosen behaviours can be found in the recent and past paintings, of the questioning artist. These beings represent the masks used for ammunition in society. For Jeffrey they have been running and fighting and finally come to a point where critical mass has been reached. It was only in this extreme battle royal bar brawl with no winner, that a champion could emerge from the bodies of the dead. The importance for Jeffrey is that what is created knows from who he has sprung and acknowledges those parts from time to time. The artist himself describes his work as being: a part of destruction, a bit creation, but comes with knowing and accepting there will always be a little snake slithering around when things can get a bit draculated. The notebooks and Polaroids are the visual and textual diaries of Jeffrey Teuton, through which his personalities and casualties are exposed. These pieces cover the rollercoaster experience of the past ten years from New York to LA and beyond. The paintings bring the viewer to the finale performance as all three characters walk into that bar and finally let go. Jeffrey Teuton: ".. Like falling into a hole wearing a nice Gucci outfit and trying to claw your way out holding a glass of champagne." - this is the context of his works!!! Image: Jeffrey Teuton 65 2007 acylic on canvas 40 x 60 inch Courtesy of galerie OPEN, Berlin Gallery website Read on...galerie OPEN, Berlin |
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