15 November 2007

re-title.com newsletter - Painting & Mixed Media November 2007

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Branch Gallery Durham NC Monika Sprüth Philomene Magers Cologne Western Exhibitions Chicago Jeff Bailey Gallery New York Galerie Voss Düsseldorf MOT, London Johnsonese Gallery Chicago re-title.com JUST GOT A LOT BETTER! Next Newsletters         sign up!

Branch Gallery Durham NC Body Politic: Casey Cook Wangechi Mutu Shinque Smith Tory Wright 8 Nov - 22 Dec 2007 Branch Gallery is pleased to present Body Politic: Casey Cook, Wangechi Mutu, Shinique Smith, Tory Wright. The four artists in Body Politic consider the intersection of bodies, place, and space with the politics of globalism, consumerism, and image. Working in a range of media, each sees the body as a starting point for a larger conversation on the role of gender, race, and the location of self in a changing world landscape. With their hidden text messages and muted palette, Casey Cook's paintings invite the viewer on a coded journey that is playful and mysterious. A sophisticated use of space and line draws in the viewer, meshing elements of trompe l'oeil, reiterated geometric forms, and organic abstractions to confuse notions of space. Her depiction of the body is fragmented and sexual- male and female intertwine in hedonistic camouflaged repetition. For this exhibition, Cook will create a site-specific wall drawing. Cook, who is based in Carrboro, North Carolina, received her MFA from the University of California, Los Angeles in 1997. She has had solo exhibitions at venues such as Lehmann Maupin, NY and Richard Heller Gallery, CA, and has participated in group exhibitions at venues including Deitch Projects, NY; Pat Hearn Gallery, NY; and Matthew Marks Gallery, NY. Wangechi Mutu, born in Nairobi, Kenya and based in New York, is well known for her large scale collages and installations that explore the conflict-of-interest between the rampant consumerism of glamorous high fashion and western conceptions of responsibility in a global economy. Particularly concerned with the perverse notion of 'the other' as shaped through colonial histories, she cites the feminine form as the site upon which the scars of war and conflict are most readily visible. In Body Politic, Mutu will exhibit Cleaning Earth, a recent video work in which the artist, disguised in a nondescript long dress and head scarf, engages in the endurance exercise of repeatedly scrubbing the ground. The seemingly futile act of putting soap and water to the earth in an attempt to make it 'clean' might be a metaphor for the very nature of war, and the inability to erase the blood histories and scars that it leaves behind. Mutu received her MFA from Yale University in 2000, and has had solo exhibitions at numerous venues including San Francisco Museum of Modern Art, CA; the Miami Art Museum, FL; Power House, TN; and Sikkema Jenkins & Co., NY. She has participated in group shows at such institutions as the Royal College of Art, London, UK; the Centre Pompidou, Paris, France; and the Centro Andaluz de Arte Contemporaneo, Sevilla, Spain. Also based in New York, Shinque Smith's dynamic bales and bundles have a textual quality which underscores their anthropomorphic structures. Using discarded, personal, and found items of clothing as her primary resource, Smith's works transform unwanted and used objects into entropic sculptural forms. In doing so, her works explore the history of commodity exchange, globalism, and poverty. As Smith uses color, texture, and form to blur the line between abstraction and figuration, she disturbs the separation between the body and its trappings, or the consumer and the consumed. Smith received her MFA from the Maryland Institute College of Art in 2003. She has participated in group and solo exhibitions at venues including Cuchifritos, NY; The Boulder Museum of Contemporary Art, CO; Scuola dell'Arte dei Tiraoro e Battioro, Venice, Italy; Franklin Artworks, Minneapolis, MN; and PS1, NY. Tory Wright, based in Raleigh, North Carolina, explores the nexus of fashion and consumerism, using collage as a drawing tool. Wright uses Duratrans-the ubiquitous lightbox advertisements seen at department stores-as her primary source material, cutting them by hand to transform fashion editorials into ornate organic forms that could be female body parts, textile patterns, or links of dancing fashion logos. Her newest series of works on paper tease the viewer by revealing only hints of carefully crafted femininity: a red lipsticked mouth here, long fluttering eyelashes there. Distractions from the seductive messages of such advertisements are cut away, laying bare their architecture and leaving behind the very motivation they seek to elicit: desire. Wright is an MFA Candidate at the Maryland Institute College of Art (2008), and has participated in exhibitions at venues such as Art Space, Richmond, VA; the Rose Art Museum, Waltham, MA; and Space 1026, Pennsylvania PA. She is also a member of Team Lump, an artists collective based in Raleigh. image: Body Politic installation view Courtesy of Branch Gallery, Durham NC Branch Gallery 401c Foster Street Durham North Carolina Branch Gallery Read on... Branch Gallery, Durham NC

Monika Sprüth Philomene Magers Cologne KAREN KILIMNIK 16 Nov - Jan 19, 2008 Monika Sprüth and Philomene Magers are delighted to present the first solo exhibition by Karen Kilimnik at their Cologne gallery. The exhibition comprises works on paper, photographs and new oil paintings. As in her last solo exhibition at the London gallery, Kilimnik is also showing an installation of a forest, in this case a fairytale birch forest in winter. The artist for one uses well-known historical clichés; for another she cites the present in her installations. A sense of the artificial, of staging, is characteristic of her work. Since the 1990s she has been seen as a precursor for this kind of theatrical mise-en-scène installation art. She repeatedly resorts to the aesthetics of nineteenth- century European culture for her installations, which she stages inter alia in their original historical settings. In this way she combines genre painting and historical events with contemporary pop culture and thereby with her own experience. The fantastic, fairytale-like, recurring references to eighteenth- and nineteenth-century Romantics, and the proximity to painters like Stubbs, Oudry and Raeburn are significant for her painting. She habitually-and masterfully-breaches her own painterly style and the flawlessness that is inherent to her installations by inserting moments of shock and irritation that usually take the form of arrangements made of cheap disposable material. A crystal glass chandelier in the first part of the space sets the scene for Karen Kilimnik's oil paintings, photographs and drawings right at the start of the exhibition. Unlike in her earlier shows, in this exhibition she does not work with colored wallpapers or walls that she includes in her installations as an artistic element. Her approach to the architecture of the rooms at the Cologne gallery is more restrained. She leaves the walls of the exhibition space and the frames of her paintings neutral in color, for example. In Kilimnik's new photo work "The Snow Queen's Sleigh" we see a sledge laden with presents that has been left in a snow-clad winter forest. The subject of this photograph points to the allover installation in the next space. What we see there is a partly snow- covered birch forest populated by creatures such as an Arctic fox and an eagle owl. Both are based on the real animals but stylised and made of fabric. The installation creates contrasting moods and condensed dreamlike scenes by using both real tree trunks and authentic forest noises and also artificial snow and stuffed animals. Happiness, pleasure, the mysterious and the sinister all appear here in Kilimnik's mise-en-scène as protagonists with equal rights. Kilimnik's artistry of visual seduction by means of the romantically sublime is something that she herself foils time and again in a flash with elements of a raw reality fed from the present and from her own experience. The US artist Karen Kilimnik lives and works in Philadelphia, PA. Her work has been seen in major solo exhibitions. The first comprehensive survey of her work in the US had been taken place this summer at the Philadelphia Institute of Contemporary Art, then travelled to the Museum of Contemporary Art, Miami. From December 2007 through February 2008 it will be shown at the Aspen Art Museum and latern at the Museum of Contemporary Art, Chicago. Image: Karen Kilimnik My brother and me, 2007 Water soluble oil color on canvas 45,5 x 35,5 cm 18 x 14 inches Courtesy Galerie Monika Sprüth / Philomene Magers, Köln / München / London Monika Sprüth Philomene Magers Wormser Straße 23 D-50677 Cologne Monika Sprüth Philomene Magers Cologne Read on... Monika Sprüth Philomene Magers Cologne

Western Exhibitions Chicago JOHN PAROT : Biological Exuberance 17 Nov - 15 Dec 2007 Western Exhibitions presents Biological Exuberance, an exhibition of new works on paper and sculptural installations by Chicago-based artist, John Parot. The artist borrows the title of his exhibition from Bruce Bagemihls book of the same name, an investigation of homosexual behavior among animals. Parot, however, focuses on examples of the feral in gay urban life: impulsivity, debauchery, promiscuity, and the dynamic between predator and prey in sexual encounters. In his recent collages, Parot embellishes handsome male faces clipped from fashion and porn magazines with intricate patterns of gouache that carry both tribal and retro-futuristic connotations. Only eyes, mouths, and occasional hairdos remain, peering out from behind the mask-like facades of Parots gouache work. The tribe of masked heads hunts through abstract landscapes painted in a garish palette of blood red, hot pink, and matte black. Although abstracted, the landscapes allude to caves, spider webs, and other symbols of danger and capture. A group of sculptural installations assembled from the detritus of gay night life provide an allusive environment for the works on paper. Liquor bottles, diet cokes, tools of the trade, and other objects, decorated by Parots busy hand, combine into tableaus reminiscent of both allegorical still lives and ritual caches. John Parot has had solo shows at the Museum of Contemporary Art in Chicago, Bellwether (then in Brooklyn), Van Harrison Gallery (then in Chicago), and at Western Exhibitions in Chicago and has been included in group shows at Mixture Contemporary in Houston, Jack Hanley Gallery in San Francisco, Locust Projects in Miami and Bucketrider, Bodybuilder & Sportsmen and Gallery 400 (all in Chicago). He will be included in a concurrent show, "Thinking in Color", curated by Judy Ledgerwood, at the Lemberg Gallery in Michigan. His work has been discussed in The New Yorker, Time Out Chicago, Artnet Magazine, and Art on Paper. Parot is a 2004 recipient of grants from the Illinois Art Council and Artadia. He lives and works in Chicago. Image: John Parot detail of "Sudden Urge" ink, gouache and collage on Rives 15" x 22" WESTERN EXHIBITIONS 1821 W Hubbard, Ste 202 Chicago IL 60622 Western Exhibitions, Chicago Read on... Western Exhibitions, Chicago

Jeff Bailey Gallery New York Will Yackulic : Focused Aggregate Intensity 19 Oct - 17 Nov 2007 Jeff Bailey Gallery is pleased to present Will Yackulic: Focused Aggregate Intensity, an exhibition of drawings and paintings. This is his first solo exhibition in New York. Using a typewriter, gouache, watercolor and India ink, Yackulic builds systems of information accretion. Punctuation marks and simple geometric forms are combined to create multifaceted patterns that vibrate with optical intensity. Like snow on an old TV screen, the typewriter marks are a visual jumble, a chaos of uniformity. From red or black typewriter ribbons, thousands of marks create fields that radiate in concentric circles or undulate in waves. Floating in this indeterminate space are spheres that are constructed of triangle shapes, appearing three dimensional, like planets in a galaxy or untethered geodesic domes. In Opulence & Intention, a sphere hovers mid air, casting a shadow, or reflection, against the typed ground. A wave ripples gently below. The scale is uncertain and the objects defy any spatial categorization. Outpost I is a circular painting on panel, four feet in diameter. Constructed of multicolored triangles, it is a much larger version of the spheres found in the drawings. It is structured and free floating, an engineered object that is simple, yet complex and mysterious. Will Yackulic has had solo exhibitions at Gregory Lind Gallery and Adobe Backroom Gallery, San Francisco. He has participated in numerous group exhibitions throughout the U.S. and internationally, including fa projects, London. His work has been featured in publications such as Modern Painters, Artforum and Art Monthly. He received his BFA in Painting from the State University of New York, Purchase. Yackulic lives and works in New York. Image: Will Yackulic Opulence & Intention, 2007 Gouache, watercolor, India ink and typewriter on paper 22 x 24 inches Courtesy of Jeff Bailey Gallery, New York JEFF BAILEY GALLERY 511 West 25th Street, #207 New York, NY NY 10001 Jeff Bailey Gallery, New York Read on... Jeff Bailey Gallery, New York

Galerie Voss Düsseldorf Frank Bauer : AkikoAlinaAlinka AndrewAndyBlanca ChikaChrista GerhardGiselaJamie JeffJesimJulia KojukiLenaMelanie MihokoPatrick ReginaSeanSissy SonoyoTallulahTodo 30 Nov - 26 Jan, 2008 >From November 30th on, Galerie Voss will show new works by Frank Bauer, master student under Gerhard Richter. Among the well-known photo-realistic works - paintings, that are always based on self-made photographs - the gallery will for the first time show a series of portraits, the title of the show refers to the models that have been posing for the artist. The Consecrated Chance some thoughts on the painting of Frank Bauer by Heinz-Norbert Jocks Basically, what does "photo realism" mean? By using this term you categorize something that, in the end, cannot be captured so easily. There is still something that insists on existing, which - carelessly used - will fall by the wayside because it overshoots the mark of catching reality nearly photo-like. It is, indeed, more than some boring tautology and also far more than an antiquated competition with photography. Anyhow, this holds for the special case of Frank Bauer; one might insinuate that he is a photo realist with a certain sympathy for pop art. Now, first of all, he is a passionate painter who seems to be stepping out of line merrily, and one who, in his student time, was trained by Gerhard Richter, which means that all the doubts about the medium were drummed into him. In spite of this, he stands up for painting like someone who falls back on it because it is his innermost opportunity of making sure that he exists and has to place himself in a world into which he feels thrown as a being unfamiliar with itself with essence preceded by existence. With agreeable lightness he returns to the traditional possibilities of painting. And he does so in a way so natural hardly anybody today would dare to. A strange thing, Frank Bauer approaches any motif with his Nikon. He takes pictures of his world´s motifs before he will paint them - like someone who cannot help it or is not willing to. That means, he perceives the things in his private milieu, which he later considers worth painting, only if they are brought to him through an objective, a medium. In this, he is a complete child of his time. Confronted with his collection of source material, we at first seem to be watching somebody who is engaged if not in topping the preciseness of the model but in letting his hair down by means of brush and paint. No details are skipped over, no blurredness is left out, no colours are changed afterwards, no shades ignored be they as tiny as they may. Drawing even with the photographic pattern obviously goes as far as the visualization of materiality as well as the materialization of clothes and shoes, skin and hair. In doing so, Frank Bauer never aims at congruence but by creating a picture always raises transient moments to the level of eternity. Everything he does is intended to be a logical play with colours and shapes, an adventurous oscillation between sharpness and blurredness and, by the way, irritations introduced by the back door. Thus, for instance, he makes edges appear so sharp that the blurred background of clouds will suddenly topple forwards. And if there is a failed photo with something significant in it he will not retouch or beautify the failed detail but accept it as an extreme challenge to find out the failure like a downright detective. At the beginning there is the question of how the photographic failure can be translated into successful painting, which with each brush stroke, i.e. step by step, will fix the photograph´s unspectacular traces of reality. Coincidences or accidents, which surprisingly turn into necessities, in this way receive a different visibility and a non-cosmetic beauty. Thus the photograph becomes transcendent. Everything is deliberately put in the picture so that it receives a touch of a fake stage-managing. It seems as if the painter consecrates the incident afterwards, then loads it with an aura and a meaning and in retrospect welcomes it. [....] edited text. Image: Frank Bauer "Audience (Daft Punk)", 2007 oil on canvas 170 x 250 cm Courtesy of Galerie Voss, Düsseldorf Galerie Voss Mühlengasse 3 D-40213 Düsseldorf Galerie Voss, Düsseldorf Read on... Galerie Voss, Düsseldorf

MOT, London SIMON & TOM BLOOR THE BALLAD OF GUNPOWDER JOE 17 Nov - 16 Dec 2007 "At all events, we return you blessings for curses; and pray that you may soon return to that industry, and those sober manners, for which the inhabitants of Birmingham were formerly distinguished". These were the parting words in an open letter to the people of Birmingham by Joseph Priestly before leaving for America after the, so-called, Priestly riots. Also known as Gunpowder Joe for his inflammatory phraseology, Priestly was a chemist, theologian, philosopher and educator whose radical stance towards the established religious & political authorities sparked off several days of rioting in 1791. Most of the violence was directed against the property of Birmingham's liberal intelligentsia, including Priestly himself and was engineered by corrupt officials. These events culminated in Priestly leaving the city, never to return. Simon and Tom Bloor have had a long running interest in history's social radicals and their relationship with specific places. For their first solo exhibition at MOT they turn to their own city of Birmingham and present a body of work influenced by research into these events and the writings of Joseph Priestly. Like Priestly, who embraced many disciplines, the Bloors do not limit themselves to one particular medium and the Ballad of Gunpowder Joe will include a neon text, several works on paper and two sculptures. Crossing the boundaries between design, philosophy and social history the work of Simon & Tom Bloor moves beyond art's continued fascination with the aesthetics of Modernism and into the uncertain territory of something more engaged with its social structures. Simon & Tom Bloor live and work in Birmingham, UK and are represented by MOT International. They were selected for Art Futures 2007, Bloomberg Space, London and have recently completed the project Thin Cities, Platform for Art, Piccadilly Line, London Underground, London (2007). Recent solo projects and exhibitions include; Modes of Civic Life, Transmission Gallery, Glasgow (2006); Various Positions, Het Wilde Weten, Rotterdam, Netherlands (2006) and The wide world is all about you, Ikon Gallery offsite project, Birmingham (2006). They have been included in various group exhibitions, including; Strategic Questions, Kunsthalle Exnergasse, Vienna, Austria & De Appel, Amsterdam, Netherlands (2006); Merz Magazin 4, Bregenz, Austria (2006); The Artist with Two Brains (2005); Public Structures, 2nd GuangZhou Triennial, China (2005) and Romantic Detachment, Grizedale Arts, PS1, New York (2004). Image: Simon & Tom Bloor That generous humanity that taught the oppressed Graphite on antique engraving 22 x 35 cm, 2007 Courtesy of MOT, London MOT Unit 54 / 5th floor Regents Studios 8 Andrews Road London E8 MOT, London Read on... MOT, London

Johnsonese Gallery Chicago David Kupferman Takes Chicago Nov 23 - Dec 29, 2007 The Johnsonese Gallery is pleased to announce "David Kupferman Takes Chicago", November 23 - December 29, 2007. This event will be the first Chicago solo show for well-known abstract expressionist painter David Kupferman. An artist's reception for David Kupferman will be held Saturday December 8th from 6 to 10 pm. Kupferman's work is included in a dozen museum collections and numerous private and corporate collections. Corporate collections in Chicago include the Federal Reserve Bank and Harris Bank. He has had over 25 solo shows and is the recipient of grants from several foundations, including Pollack-Krasner, Adolph & Ester Gottlieb and Robert Rauschenberg's Change. Kupferman's work is a unique fusion of Eastern and Western aesthetics, of luminous landscapes and lyrical abstracts that deal with transcendence and light. Former Cape Cod Museum of Fine Arts director Donald Knaub wrote, "That important juncture where land, sky and water meet is quintessential to painting on Cape Cod, but in the hands of David Kupferman it becomes mystical, much in the same way that German Romantics imbued landscapes with life force qualities..what identifies David out as unique is his signature style of abstracting these elements to an almost pure form." Knaub further described Kupferman's paintings as "..evocative, poetic, and transcendental images of ordinary elements." The Johnsonese Gallery, located at 2149 W. Armitage in Chicago's historic Bucktown neighborhood, specializes in progressive contemporary art. Image: David Kupferman Sea Stairs, 2006 Acrylic on canvas 24"x24" Image courtesy of the artist Johnsonese Gallery 2149 W Armitage Ave Chicago IL 60647 Johnsonese Gallery, Chicago Read on... Johnsonese Gallery, Chicago

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