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Merry Karnowsky Gallery,
Berlin |
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CAMILLE ROSE GARCIA: THE GRAND
ILLUSION
17 May - 14 June 2008
Merry Karnowsky Gallery Berlin is proud
to present The Grand Illusion, a solo exhibition of new
paintings by renowned California artist Camille Rose
Garcia.
Garcia found inspiration for her new body of works in the
animated films Bambi and Princess Mononoke, which explore the
dangers of man's careless interactions with nature, as he
conquers his surroundings. The Grand Illusion examines
Americans' dysfunctional relationship with the natural world,
in which rampant denial and uncanny optimism maintain a
collective naivety that prohibits the recognition of reality:
namely, the imminent ecological crisis.
The paintings are distractingly pleasant, yet, within the
distraction lies danger. They are exaggerated, Disney versions
of nature: more vivid, charming and entertaining than the real
thing. Super-bright colors convey a simulated nature, enhanced
to a dizzying degree. Drugs and vice abound in the forest,
where the animals are being administered pharmaceuticals to
ensure their pacification and participation in the grand
illusion.
In a large wall mural titled, "The Grand Delusion," a
giant rabbit jumps out of a giant hat, pregnant with all the
products and comforts of modern society. Cars, oil, bread,
pills, cakes and lawn furniture intertwine to create the giant
magic trick; endless products of the industrial revolution
issue from some unknown place. The arrival of these modern
marvels is never questioned, and the destructive processes of
the products' making are never recognized. Elaborate systems
of denial, filled with beautiful distractions, mask the
failures of the industrial revolution.
Image:
Camille Rose Garcia
"Give Me Your Eyes, I Need Sunshine"
(Wolfe
Parade)
acrylic, glitter and gold mica on wood
91.5 cm x 91.5 cm, 36 x 36 in
Courtesy of the artist and Merry Karnowsky Gallery
Merry Karnowsky Gallery
Torstrasse
175
Berlin 10115
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Front Room Gallery, New
York |
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The Front Room Gallery is Proud to
Present:
Patricia Smith
"City of One"
May 9th-June 1st 2008
Hours: Fri-Sun
1-6pm
Front Room Gallery is pleased to present
Patricia Smith's new solo exhibition,
City of One. This new group of thematically related
works on paper addresses the anxieties of contemporary life
and the coping mechanisms that develop in the collective
psyche.
Making use of Rococo-like ornamentation characterized
by lightness and delicacy, Smith creates fantastical
structures that resemble both microorganisms and planetary
surfaces. These structures house imaginary organizations
described through captions that label rooms and spaces. The
words serve as clues to the meaning of these elaborate
systems.
The obscure entity that Smith is referencing is the
soft, porous terrain of all that is submerged in human
consciousness. Within these miniature geographies, issues of
violence, abuse of power, and self-imposed retreat into
oblivion are presented. In these drawings, the rational side
of the human being is made to confront the irrational,
distorted aspects of identity, ego and desire. In the end, the
diagrams can never say what they actually mean; the words
serve as directional signs in a field of uncertain
symptoms.
Patricia Smith's technique is
obsessive and labor-intensive. The exhibition features a
nine-foot-long drawing that took several months to complete,
along with eight other works. This is Smith's second show at
Front Room.
Image:
Patricia Smith
detail from "Swag Palace"
ink and watercolor on paper
2008
30" X 22 1/2"
Courtesy of the artist and Front Room Gallery, New
York
Front Room Gallery
147 Roebling
St.
Brooklyn, NY 11211
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Hudson Franklin, New
York |
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Genevieve Walshe
May 8 - June 14, 2008
Hudson Franklin is pleased to announce a
solo exhibition of new paintings by Genevieve
Walshe, on view from May 8 to June 14,
2008.
In Walshe's abstract paintings, she uses
hand-cut stencils to collage many layers of paint into dynamic
webs of color. Her structured system creates unexpected
patterns -- and a dialectic between the random and the routine
that extends into the various surfaces and the contrasts in
the handling of paint.
In developing the series,
Walshe discovered a kinship with the methodical web-building
process of spiders. She found an allegory for the
contemporary painter's task in the true story of two spiders,
Arabella and Anita, who were sent into space aboard Skylab in
1973:
The spiders
proceeded to construct their web, while a camera
took
photographs and examined the
spiders' behavior in a zero
gravity
environment. Both
spiders took a long time to adapt to
their
weightless existence.
However, after a day, Arabella spun the
first
web in the experimental
cage, although it was initially
incomplete.
The web was completed
the following day. Crewmembers fed and
watered
the spiders, giving them
filet mignon. The first web was removed
on
13 August, to allow the spider
to construct a second web. At
first,
the spider failed to
construct a new web, but, supplied with
additional
water, a second web was
built, this time more elaborate than the first.
Finding the 'zero gravity' of space analogous to the
current tenor in contemporary painting, Walshe turned to
modernist art and was inspired by the shapes "on stage" of
Morris Louis and the "allover-ness" of Jackson Pollock and
Piet Mondrian. Each mid-size canvas envelopes the viewer
within a web of paint, and the paintings as an installation
create a kinetic effect in the gallery.
Genevieve Walshe received her M.F.A. from Hunter
College in 2004. This is her third solo show with Hudson
Franklin.
Image:
Genevieve Walshe
"The Wish", 2008
oil on canvas
60" x 49"
Courtesy of the artist and Hudson Franklin New
York
Hudson Franklin
508 West 26th Street,
#318
New York, NY 10001
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Sesame Gallery,
London |
Liquid Light - Underwater
Aesthetics
Sarah Harvey - Patsy McArthur - Oliver Wilson -
Kim Yeon
8th May - 5th June 2008
Sesame is pleased to present Liquid Light,
an exhibition examining different aspects of underwater
aesthetics through the work of four emerging artists: Sarah
Harvey, Patsy McArthur, Oliver Wilson, and, for her first
exhibition in the UK, South Korean sculptor Kim Yeon.
Prior to 20th century imaging and diving technology,
underwater worlds could only be glimpsed, not documented, and
despite occupying a key space in the popular imagination they
remained barely represented throughout the history of art, and
even then only in terms as the setting for mythical flights of
fancy. Liquid Light sets out to document the
imaginative and emotive power of this world through artists
whose work merges traditional forms of art production with
advanced sculptural and photographic technology.
The sculptures of South Korean artist Kim
Yeon represent segments of streams and rivers or the
sea-bed, captured in a state of stasis, liquid and solid all
at once. They are like a magical moment when time stands
still, the waters stop flowing, and the viewer can contemplate
this most basic but fascinating of natural elements from every
angle, glittering and shimmering in the light. Already having
exhibited widely with galleries and museums in South Korea,
this will be Kim Yeon's first exhibition in the UK.
Breaking the surface, the paintings of recent RA prize
nominee Sarah Harvey have all the immediacy
and energy of a first impact with the water. Based on
re-appropriated photographs of herself underwater taken by
others, Sarah's paintings accentuate the abstracting quality
of water to highlight how processes of attraction and
discovery operate: the fluid figure is both seen and hidden;
it is multi-faceted, impossible to grasp; and yet it draws in
the viewer towards a sensual, sexual being, enveloped by water
and light.
Oliver Wilson's paintings also focus on
underwater figures, but from a distinctly different
perspective: His viewpoint is deeply submerged, as if looking
up from the depths, from whence his compositions take on the
classical air of sea-nymphs, sirens and ancient legends. Like
epiphanies or visions, his paintings seem to resonate from a
cultural heritage buried deep in the Western psyche as if at
the bottom of the sea, exploring in the process how the
unknowable fluidity of the deep can play host to intense
imaginative and poetic experiences.
In contrast, Scottish artist Patsy
McArthur's charcoal drawings emphasize the
"otherness" of underwater worlds, with an almost existential
undercurrent that strikes a balance between excitement and
caution in the water. The charcoal contrast of black and white
carries through this tension, and highlights the mesmerizing
sense of detachment that comes from being completely
submerged. Despite being surrounded by others, Patsy's world
is very private and separate, an intensely personal
psychological space made possible by the water acting like a
liquid cocoon for the mind.
Image:
Sarah Harvey
Broken, Oil on canvas, 2007
Courtesy of the artist and Sesame Gallery,
London
Sesame Gallery
354 Upper
Street
London
N1 0PD
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| THIERRY GOLDBERG PROJECTS, New
York |
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no greater solitude
Jonathan Hartshorn and
Joyce Kim
9 May - 8 June 2008
Thierry Goldberg Projects is pleased to
present "No Greater Solitude," a two-person show about the
reclusive nature of abstraction and memory, with drawings and
installation by Jonathan Hartshorn and
paintings by Joyce Kim. Perilous and murky,
the works struggle with remembrance, personal and historical,
in bleak retrospect.
Jonathan Hartshorn's installations consist of small
grotesque drawings and gory collages of paint. Hung in what
appears to be a random dissonance, is Hartshorn's careful
reinterpretation of personal memories and fiction. His
improvised hanging of individual pieces represents the
desultory nature of retelling and remembering trauma. In what
he likens to the "currency of memory," a multitude of tellings
generates a multitude of truths and Hartshorn's performative
relationship with his installation process is a mutable
extension of those very stories.
Joyce Kim reflects on the entropy of utopian ideals as
she reframes Jean-Pierre Melville's 1967 film, Le Samouraď.
The title of the exhibition is a quote from Melville's
fictitious "Bushido," The Book of the Samouraď. Recalling
select scenes from the film, Kim develops her own voice and
memories in relation to the Modernist history of painting.
Obscuring and defacing surface in storms of gray with collaged
pieces of paint and blackened acrylic foil, she alludes to a
decaying and shattered '60s notion of modernism as a symbolic
stage. The paintings convey the sublimely silent and desolate
spaces in the film while nodding to the history and promise of
abstraction.
Joyce Kim lives and works in New York. She received an
M.A. from New York University and has had solo exhibitions at
Artists' Space, New York; The Center for Contemporary
Non-Objective Art, Brussels, Belgium; Livingroom D Lyx, Malmo,
Sweden; and Priska Juschka Fine Art, Brooklyn, NY. She has
participated in group exhibitions at The Slought Foundation,
Philadelphia, PA; The St. Etienne Museum of Art, St. Etienne,
France; Frederieke Taylor Gallery, New York; Thrust Projects,
New York; Gasser & Grunert Gallery, New York; Southfirst,
Brooklyn; Peres Project, Los Angeles; and Nicole Klagsbrun
Gallery, New York. She is a recipient of The Pollock Krasner
Foundation grant and The John Anson Kitteredge Fund award, and
is currently an artist in residence at The Marie Walsh Sharpe
Foundation.
Jonathan Hartshorn lives and works in New York and
Albuquerque, New Mexico. He holds a Masters of Fine Arts from
the School of Visual Arts, New York, and a Bachelor of Fine
Arts from the University of New Mexico. His work has been
shown at P.S.1 MoMA, LIC, NY (solo); Feature, New York (solo);
Roberts and Tilton Gallery, Los Angeles, CA (solo); Galerie
Bertrand & Gruner, Geneva, Switzerland; and John Sommers
Gallery, Albuquerque, NM. An article about his guerilla
performance in the Museum of Modern Art's fifth floor
bathroom, was recently published in The New York Times.
Image:
Jonathan Hartshorn
Untitled,
2008
graphite on paper
10.5 x 8 inches
Courtesy of Thierry Goldberg Projects, New
York
THIERRY GOLDBERG PROJECTS
5 RIVINGTON STREET
New York, NY
10002
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Galerie Ernst Hilger,
Vienna |
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Erró - Permanent Daylight, and the
Grandchildren of Mao
15th May - 19th June, 2008
Introduction: Lóránd Hegyi
Musée d´Art Moderne de
Saint Etienne
A catalogue is being published with the exhibition. In
his latest pictures Erró has remained true
both to his characteristic compositional principles and to his
appropriate choice of subject. The Icelandic artist is a
"sampler" of modern art history and of a simply inconceivable
range of genres from everyday life: comics, advertising
posters, trashy paperbacks, erotic magazines..
Naturally, he interweaves various iconographic levels
together. For instance, an Asian karaoke singer pushes herself
to the front of the Arnolfini picture, or rather, Erró's pop
paraphrase of Jan van Eyck's portrait of prestige. High
becomes low. The artist pulls comic masks over the faces of
the Flemish couple as in a Walt Disney cartoon. Mickey Mouse
peeps out from behind the curtain in the convex mirror in the
background. Erró helps himself from the history of art and its
iconic image; he is, as it were, standing before a lavish
buffet where he piles his plate up with the ingredients of
art.
Image:
The She Devil, 2006
100 x 71 cm, Oel
auf Leinwand, oil on canvas
Courtesy of the artist and Galerie ERNST
HILGER , Vienna
Galerie ERNST HILGER
Dorotheergasse
5
Dorotheergasse 12
Vienna A-1010
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Coming Next
May 21-22 Photography, Film & Video
May
28-29 Sculpture & Installation
June 4-5 Painting & Drawing
June 11-12 Mixed Media
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