25 October 2007

re-title.com newsletter - Painting & Drawing - October 2007

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fette's gallery, Los Angeles Margaret Thatcher Projects New York THIERRY GOLDBERG PROJECTS, New York Freight + Volume New York See Line Los Angeles Houldsworth, London Guasch-Coranty International Painting prize re-title.com JUST GOT A LOT BETTER! Next Newsletters         sign up!

fette's gallery, Los Angeles Erica Eyres : Shut Up Shut Up Shut Up Shut Up David Ostrowski : How to Look at Homegrown Terror 2 Nov - 22 Dec 2007 fette's gallery is delighted to present the double-solo shows of Erica Eyres (ca/uk) and David Ostrowski (de). Born 1980 in Winnipeg, Canada, Erica Eyres received her BFA with honors from the University of Manitoba in 2002. In 2004 she completed her MFA at the Glasgow School of Art. Her recent solo exhibitions include Erica Eyres at Rokeby, London, I Love You But I Hate You at The Centre for Contemporary Arts in Glasgow and most recently, Erica Eyres at the Kunsthaus Erfurt in Germany. Her video work has been screened internationally and has most recently been featured during Cinematique, Winnipeg, Birdo Flugas in Japan, the Festival International du Film sur l'Art, Montreal, the Media Waves Film Festival, Akureyri in Iceland, and the Media Waves Film Festival, Gyor, Hungary. David Ostrowski was born 1981 in Cologne, Germany. In 2003 along with artist Ali Khashaei he founded the artists collective We Are Porn which features european based artists discussing the aesthetics of pornography. Since 2004, he has been studying at the Academy of Fine Art, Düsserldorf, Germany. Ostrowski has been shown prominently all throughout Germany. His recent solo exhibitions include 15 Minuten at Alexa Jansen Galerie, Cologne which published a catalogue for the occasion and Hulk vs. Hulk at Acapulco, Düsseldorf, with Max Frintrop. His work was featured at the 2007 Auction of the Neuer Aachener Kunstverein in Aachen, Art Amsterdam and Art Brussel. This is the artists' first solo exhibition in the US. Left image: Erica Eyres, Sasha, 2007 ball-point pen on paper 26 x 25.5 inches. Right image: David Ostrowski, Untitled, 2007 oil on cotton, 31.5 x 23.6 inches. Images courtesy of fette's gallery, Los Angeles fette's gallery 4255 Baldwin Ave Los Angeles CA 90232 fette's gallery, Los Angeles Read on... fette's gallery, Los Angeles

Margaret Thatcher Projects New York William Betts : Overseen 11 Oct - 17 Nov 2007 Thatcher Projects announces an exhibition of new paintings by William Betts. Betts recently joined the gallery's roster of artists, and we are pleased to present his inaugural exhibition opening October 11th through November 17th, 2007. Betts' latest paintings address a contemporary world in which surveillance is widely used as both a deterrent and for social control. Inspired by the writings of Jeremy Bentham on the Panopticon and Michel Foucault in his work Discipline & Punish, he explores the sociological and philosophical implications of surveillance in contemporary society. Using staged and found surveillance images as source material, the artist adjusts both the quality and content of the image to find the ideal balance of recognition and ambiguity allowing the viewer to draw on their own experiences, imagination, and anxieties to provide the interpretation. With few visual clues other than the specifics offered by a time stamp, the work uses a unique perspective and presents isolation and anonymity as its subject to draw the viewer into a vague and questioning environment. William Betts describes his process as follows: "Having spent several years working professionally in the software business, I draw on a deep understanding of technology to develop new techniques of making paintings that reinvigorate the traditional craft and allow me to create paintings that could not be made until very recently. For this series of paintings based on video surveillance images, I used advanced computer controlled linear motion technology and a proprietary software system of my design to precisely apply thousands of drips of paint. The individual drips of high gloss acrylic paint catch the light and give each drip its own dimensionality and further mimic video. I developed a color palette based on RGB additive component video to create 'black and white' images using only colored paint. A typical painting has between 30,000 and 40,000 individually applied drips of paint." Image: William Betts Park, 2007 36" x 48" Acrylic on Canvas Margaret Thatcher Projects 511 W 25 St New York NY 10001 Margaret Thatcher Projects, New York Read on... Margaret Thatcher Projects, New York

THIERRY GOLDBERG PROJECTS, New York BEN GRASSO Rust Belt 19 Oct - 25 Nov 2007 THIERRY GOLDBERG PROJECTS is pleased to present Rust Belt, a show of new paintings by Ben Grasso. For his second solo exhibition with the gallery, Grasso continues to explore the decades long decline of The American City and specifically that of his hometown, Cleveland Ohio. During the first half of the 20th century, Cleveland was the 5th largest city in America, thriving with steel factories and manufacturing jobs. In the 1920's, Cleveland's economy was booming while middle class families began to leave the crowded city for the suburbs. The nationalization of Cleveland's public transportation system in the 1950's and the eventual development of Eisenhower's freeway system accelerated the migration to the suburbs. The steel mills that were the backbone of Cleveland's economy closed down or moved to cheaper labor markets and thousands of jobs were lost. The city of Cleveland, once a thriving economy, transformed into one of the poorest cities in America. Grasso grew up in 1980's Cleveland, his new series of paintings explore the notion of his hometown's state of blight. Mixing traditional painting techniques with a modern palette, Grasso works with the careful hand of Winslow Homer peer pressured by the Clockwork Orange crew. In "Whatever is Left of It," he peels away the pre-fab panels, windows, and doors of a suburban house. The parts of the house hover parallel to its skeleton, revealing a washroom in plain view, toilette and sink installed. Severed from its suburban facade, the frame of the house appears as prison bars, the house pictured no more than a bleak cell. With each painting, Grasso reaches for dynamite in a boyish and intellectual boldness. Taking cues from Wile E. Coyote and John Chamberlain in their thirst for creative destruction, Grasso establishes sudden scenes of impossibility in which the question rises, "How could this happen here?" and in turn "How could this happen to us?" with scenes so identifiable to the American landscape and experience. Harking back to David Wojnarowicz's iconic burning houses, Grasso disturbs the sense of security and targets comfort. Ben Grasso lives and works in New York. He holds an MFA in painting from Hunter College, New York and a BFA in painting from The Cleveland Institute of Art. His work has been exhibited at Spaces Gallery, Cleveland Ohio; Agenzia 04, Bologna Italy; Momenta Art, Brooklyn NY; Bucket Rider Gallery, Chicago IL; The J. McCullough Center Gallery, Arcade Gallery, and Reinberger Gallery, all in Cleveland OH; and at the ECA Gallery in Edinburgh Scotland. Image: Ben Grasso Courtesy of THIERRY GOLDBERG PROJECTS, New York THIERRY GOLDBERG PROJECTS 5 RIVINGTON STREET NY 10002 New York THIERRY GOLDBERG PROJECTS, New York Read on... THIERRY GOLDBERG PROJECTS, New York

Freight + Volume New York Michael Scoggins : My Good, My Evil 19 Oct - 24 Nov 2007 For his second solo exhibition at Freight + Volume Michael Scoggins will present a new series of his signature hand-drawn notebook paper pieces. Meticulously fashioned in graphite, crayon, and marker, their edges complete with spiral bound holes and a tattered façade, the sheets appear hastily torn from a school pad. The artists' faux-naïve approach is contradicted by the works monumental scale (most measure 67 x 51") challenging our notions of traditional drawing, existing somewhere within the realm of two and three dimensionality. In My Good, My Evil, we are introduced to the artist in a series of autobiographical settings. In witty one-liners such as 'Lost and Alone' the artist appears trapped in the middle of the page, panic stricken as swirls of graphite close in on him. The provocative "All American Family", the first in a series of works to address the undertones of America's racial issues, depicts the white artist with his adopted African American family. In "Dear Katie" the carefree mood of a love letter is soured, as closer study reveals a note that has been ripped up in the heat of the moment and with a change of heart, taped carefully back together. The centerpiece of the show, a diptych entitled "Potential Vehicle for Evil/Good," simplistically illustrates the artist's inner tensions, as the narrative voice of the 'good' (perhaps younger) Scoggins clashes with the 'evil' (perhaps adult) Scoggins. In these epic pages we become voyeurs, privy to the artist's journalistic scrawls and rants. He confronts American culture and politics, crushes and nasty breakups, capturing life's everyday mood swings and recalling sentimental notions of childhood in a way that's accessible to all. Scoggins' humorous, smart and satirical 'canvases' have universal appeal, evoking nostalgia and memory. Recently relocated from Savannah, GA, Michael Scoggins currently lives and works in Brooklyn, New York. He has been included in numerous group and solo exhibitions in the US and abroad and his work has been acquired by the Museum of Modern Art, New York (2004), Judith Rothschild Foundation Contemporary Drawings Collection; The Hammer Museum (2007/8), Los Angeles; and Savannah College of Art and Design, Savannah, GA. He is represented by Freight + Volume, NY, Diana Lowenstein Gallery, FL, Saltworks, GA, and Adler & Company, CA. Image: Michael Scoggins Potential Vehicle for Evil/Good (diptych), 2007 marker, prismacolor on paper 67 x 102 in Courtesy of Freight + Volume, New York Freight + Volume 542 West 24th St. NY 10011 New York Freight + Volume, New York Read on... Freight + Volume, New York

See Line Los Angeles Chris Oatey : Wallpaper of Champions 20 Oct - 24 Nov 2007 See Line Gallery presents "Wallpaper of Champions", Chris Oatey's first solo exhibition, including drawings, sculpture and sound installation. "Wallpaper of Champions" uses sports imagery as subject matter towards a greater understanding of entertainment as spectacle. Crowds of spectators are juxtaposed with athletes to create a wallpaper of imagery on two walls of the gallery. Through a process of removal, Oatey has drawn images that originated as photographs. Carbon transfer drawings focus the viewer on certain parts of a picture, whether it is a pose or facial expression. Drawings of team photos show us only the silhouette of uniforms while a drawing of a crowd is made up of raised arms. A degree of specificity has been taken from the images and allows the viewer to focus on what remains. "Wallpaper of Champions" makes us consider how we identify with professional athletes, the spaces they compete in, and how reception of these events creates a longing and cathartic sensation within the spectator. It follows the direction Oatey's practice has taken by drawing spectacle imagery through labor intensive processes. His meticulously constructed mushroom cloud drawings were derived from photographs of nuclear tests. The photographs were filtered through an unskilled drawing process that recreated their spectacle character in order to question their magnitude as images. Chris Oatey was most recently chosen for the Kent State University Drawing Invitational in Ohio and to exhibit his work at Creative Artists Agency in Los Angeles. His work has also been shown in the Forum Invitational at Cranbrook Academy of Art, New California Masters at Works San Jose, and the LA Weekly Biennial at Track 16 Gallery in Santa Monica. Image: Chris Oatey Chelsea, 2007 carbon on paper 34.5 x 24 inches Photo courtesy of See Line, Los Angeles See Line 1812 Berkeley Street Santa Monica Los Angeles CA 90404 See Line, Los Angeles Read on... See Line, Los Angeles

Houldsworth, London Justin Mortimer : Punk Loves Cupcake 10 Oct - 11 Nov 2007 Houldsworth is delighted to have taken on representation of Justin Mortimer, Winner of East International 2004 at Norwich Art Gallery, selected by Neo Rauch and Gerd Harry Lybke, and to be presenting his first solo exhibition of paintings in the UK for seven years. Mortimer's latest works are shocking, in a time when shock in art is almost impossible. It is not the floating limbs, out of place half figures, nor the flickering corpses which are shocking in Mortimer's towering canvases, but the very fact that the paintings appear to have arrested themselves. The universal principle of Mortimer's current project seems to be that the painting only becomes complete, not when it reaches harmony, neither when some conceptual or other message is expressed, nor when satisfaction creeps in, but when the painting surprises the artist himself. This moment of rupture can take any form. Sometimes the form is a scraped away hand, an area of blank canvas, a massive monolithic application of paint, or a cut away figure. The result is always one of discord, when the narrative or legibility of the painting is silenced and another much more disturbing air enters the fray. The use of guerrilla tactics undoubtedly results in a kind of violence, but that is not to say that the paintings do not still posses delicacy or even melancholic contemplation. The violence is towards the act of finality and totality itself, as connected to the illusion of the skilled craftsperson. The violence is then an act of self-effacement and a shift from the precision of cultivated civilisation towards freewheeling chaotic freefall. Place has become increasingly prominent in Mortimer's most recent pieces. These are specific places which Mortimer has visited and then photographed, places which you sense have been selected for their poignant beauty as associated with their systematic neglect - bunkers long since forgotten in times of peace, beaches and landscapes long since surpassed by sunnier climates and bluer skies. The specificity of place is then translated through its pared down representation into universal symbols of forgotten and repressed thought. The evolution of Mortimer's work since winning the BP Portrait Award in 1991, and East International in 2004 tells a difference story. The haunting, but somewhat whimsical combination of figure and landscape in the winning entry for East has mutated into something much sharper and textured through the shear sweat and blood of Mortimer's practice. Mortimer has works in collections of National Portrait Gallery, Royal Society for the Arts, Royal Collection, Yoshitomo Nara, and Bank of America to name a few. Image: Justin MORTIMER Stitch 2007 oil on canvas 197 x 197cm, 77 1/2 x 77 1/2 in Houldsworth 50 Pall Mall Deposit 124-128 Barlby Road London W10 6BL Houldsworth, London Read on... Houldsworth, London

Guasch-Coranty International Painting prize The Guasch Coranty Fundation announces the call for its International Painting Prize, aimed at professional artists under 40 years of age with a Fine Arts degree or equivalent, regardless of nationality or country of residence. The main aim of the competition is to encourage the most innovative work and to promote painting as a key discipline in contemporary art. A single prize of 20.000 Euros will be awarded. The work of the finalists will be included in a joint exhibition in Barcelona, which will be accompanied by the publication of a catalogue. The panel of judges will be made up of renowned artists, curators and academics. In organizing the International Painting Prize, the Guasch Coranty Foundation seeks to consolidate a new point of reference in Barcelona's artistic panorama, one which will facilitate access to the new currents in painting that are developing both within Spain and internationally. We will accept pictorial work in two - or three-dimensional form, as well as works that interact with other media. The criteria are shown on the website of the Guasch Coranty Foundation Application Form and further information contact Period of submission: 19 - 30th of November 2007 Fundación Guasch Coranty Universidad de Barcelona Facultad de Bellas Artes Further Information

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