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30 August 2007 | re-title.com newsletter - Drawing and Painting - September 2007 |
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 Margaret
Thatcher Projects, New York Jayne Holsinger A Visual Offering 6 Sept - 6 Oct 2007 Thatcher Projects is pleased to announce A Visual Offering, an exhibition of new paintings by Jayne Holsinger. Jayne Holsinger's oil-on-panel paintings-previously praised for their "economy" and "concise beauty"- continue to evolve in complexity, as they movingly capture the spirit and humanity of her subjects. Her current series delves into Ms. Holsinger's Anabaptist background and heritage to explore the simple lives of a Mennonite family and community in rural Pennsylvania, presented in the form of genre paintings. The works are photo-based, and rely on carefully rendered serial images from single sittings. The care with which Ms. Holsinger paints imparts a spare and documentary directness that at the same time uncannily imbues her subjects with emotional resonance. Incidental details of distortion from wide angles and flash effects are evident in most of the paintings, making it clear that her sitters, frequently taken out of the context of time, are contemporary. Moreover, the perfection of detail manifested in the works comes across as almost emblematic of the people themselves in their orderly and austere environments and in their straightforward natures. Furthermore, Ms. Holsinger mines art history to import recognizable visual references into some of the portraits. For example, a Van Gogh sunflower vase appears on the kitchen table behind a woman washing dishes at her sink in Mrs. Horst II, and a Dutch Flemish baroque floral arrangement can be seen in Martha II. The artist was encouraged to include such references upon learning that the 17th Century Dutch Mennonites sat for paintings by Rembrandt, patronized the arts, and became painters themselves. Jayne Holsinger is the recipient of a Pollock- Krasner grant and was a Fellow in the Artist In the Marketplace program at the Bronx Museum for the Arts. She recently earned an MFA degree at the Transart Institute, a new-media program based in Linz, Austria Image: Jayne Holsinger Merv and Mr. Horst, 2007 Oil on panel, 16" x 20" Courtesy of Margaret Thatcher Projects, New York Margaret Thatcher Projects, New York Read on... Margaret Thatcher Projects, New York |
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 See Line, Los
Angeles Ebony G. Patterson Hybrids 8 Sept - 13 Oct 2007 In celebration of its first anniversary, See Line Gallery presents Hybrids, a solo exhibition of the work of Ebony G. Patterson. Based in Santa Monica, See Line Gallery was established in the interest of bringing a wide range of national and international emerging artists to the attention of Los Angeles art enthusiasts. Over the course of the past year See Line has generated buzz in the art community and attracted attention for consistently exhibiting compelling work. To celebrate the success of the past year and introduce a notable artist to the LA community, See Line will present a special event marking the opening of Hybrids, new work by Ebony G. Patterson. The opening reception of September 8th will feature music and cuisine inspired by Patterson's native Jamaica. Highly respected and widely exhibited in her native Jamaica, Ebony G. Patterson is beginning to receive recognition in the international art scene. Known for her exploration and abstraction of sensuous femininity through Jamaican cultural identity, growing interest in the work of this young, prize-winning artist has resulted in numerous exhibitions in Jamaica and Europe. Accomplished in painting, printmaking and sculpture, Patterson's mixed media works can be found in both public and private collections. Rooted in an interest in the body as object, Patterson's representations of female body reflect a profound fascination with the flesh, as well a deep interest in aestheticizing both the little seen and familiar elements of women's bodies. Combined with Jamaican references, Patterson's meditations on the body and culture resonate in a compelling hybrid of both content and media - much like the ethnic mélange of the West Indian culture that permeates her work. Patterson's work can be seen concurrently at the Brooklyn Museum's Infinite Island: Contemporary Caribbean Art. With this exhibition, See Line Gallery celebrates the completion of a successful first year and reaffirms its commitment to bringing attention to distinctive work from both the US and abroad. This will be Ebony G. Patterson's first exhibition in Los Angeles. Image: Ebony G Patterson Untitled, 2007 mixed media drawing 37 x 39 inches Courtesy of See Line, Los Angeles See Line, Los Angeles Read on...See Line, Los Angeles |
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 Galerie
Christian Lethert, Cologne JORINDE VOIGT KONGLOMERAT 31 Aug - 20 Oct 2007 The Systems of Order by Jorinde Voigt (Born 1977/ lives in Berlin) are reminiscent of diagrams and lists. With their degree of abstraction, calmness and concentration her works remind us of the diagonal lines in Minimal Art, e.g. works by Hanne Darbovens.Still, there is a prevailing difference of almost historically paradigmatic characters. However, systems by Voigt as well as Darboven function as numeric concepts. They play with progression and reduction, employing musical themes as like variation and permutation. Both systems use serial ways of presentation. They get across, so that their numeric concept could be extended ad infinitum. Both contrast the chaos of possibilities with the order of a daily, strictly reglemented routine. Nevertheless: Artists of the Minimal Art movement from the 60s to the 80s like Kawara and Darboven have worked against "loss" by reconstructing time. Kawara has been concerned with life and death, indeed his own life. In the first place, his art just states the sheer fall off Kawara being alive- a very modest statement. His work becomes powerful by every man being in the future having to share time and life within his numerical systems. Voigt´s abstractions do not state a presence within factual time. They do not position the subject within history or express its faint. History does not seem to be an issue at all. Catching the spirit of post-history, Jorinde Voigt constructs the invisible in front of our eyes. Our being is disabled to become real, visible. Infinity seves as a base for an ongoing process, flourishing, expanding or exploding into the negative. Thematic sequences are used in contrast to Minimal Art. They are not longer about the persisting of the individuum within eternal, hostile systems. Now, they show and create irregular, dynamic processes within seemingly chaotic forces influencing growth, time and life. Voigt´s works base on the idea, that all is a process of tensions, equalines and disseminations- never only a result. There is no being manifesting itself within the pace of history. There is only replenished eternally noisy quietness with elements. Developing and perishing. Our perception and phantasy, the picture in the mind and its abstraction are all part of what we call reality. Jorinde Voigt does not need epistemic anchor points in the foundation of historic eternality; she uses knots and ereates fields of forces within vistas drawn through. Structural dynamics create the unexpected and set up a world in which the invisible and possible form the key element of reality. Adina Popescu, Berlin Image: Jorinde Voigt: KONGLOMERAT, Installation View. 2007 © Galerie Christian Lethert, Cologne Galerie Christian Lethert, Cologne Read on...Galerie Christian Lethert, Cologne |
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 Parker's Box,
New York Fabien Verschaere Babe I'm On Fire 8 Sept - 9 Oct 2007 The work of Fabien Verschaere is a personal mythology articulated mainly through drawing and watercolors. These paper works and wall drawings create an intimate theatre, where recurrent patterns, human figures (self-portraits, women), animals or objects blend with each other to result in a personal and imaginary world that evokes the human condition. Verschaere's strange configurations, confrontations of characters, situations and atmospheres provoke feelings of ambiguity towards our own relationship and the artist's relationship with this curious universe. The existence alluded to here seems attractive and repulsive, exotic and banal, sometimes dangerous or exciting, sometimes full of meaning, and at others derisory and insignificant. These constant shifts provide the work with its strong foundations, while propelling the spectator towards unexpected encounters. Fabien Verschaere was born 1975, Paris, France, and lives and works in Paris, France. Image: Fabien Verschaere Untitled, 2004 Watercolour on paper 25.5x20 ins (32x24 cm) signed and numbered at the back Courtesy of Parker's Box, New York Parker's Box, New York Read on... Parker's Box, New York |
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THIERRY GOLDBERG PROJECTS, New York AHMED ALSOUDANI 6 Sept -14 Oct 2007  THIERRY GOLDBERG PROJECTS is very pleased to present the first solo exhibition of Iraqi-American artist Ahmed Alsoudani. This exhibition of mostly large- scale drawings composes spoil and decay in mass. The works suggest political violence, terror, torture, and war without actually depicting the hand of power inflicting the damage. This framing is specific to the media's presentation of shock and awe tactics - severing the identity of the inflictor from the pain of the victim, fostering public sympathy with aloofness to government policy. The drawings on view are deeply affected by the distribution of such images. Alsoudani's work alludes to Goya's Disasters of War and Picasso's Guernica while borrowing from the gestures of Willem de Kooning and the figuration of Francis Bacon. His drawings portray scenes of damnation without God and war without battle speaking most of all to the universal condition of suffering. All of which, Alsoudani expresses through Western traditions and tools in a distinct calligraphic notation and burnt out rendering to compose varied situations of violent waste. While flesh hangs off contorted figures, they do not ask for sympathy or beg for mercy, these are figures inured in an accumulation of pain and exhaustion. Alsoudani presents depictions of all too familiar confinement, deposition, and the scavenging of decay. His exploration into the narrative potential of pain has a long tradition in religious, political, and sexual modes of representation, neither of which fully locates his work - eluding transfiguration, hope, and pleasure. So how is it we are caught looking at his work with such little emotional reward? In her Regarding the Pain of Others, Susan Sontag suggests scenes of the terrible transfix "To steel oneself against weakness. To make oneself numb. To acknowledge the existence of the incorrigible." Likewise, Alsoudani's work fills certain psychological needs in relation to power to remind us and reconnect us with violence at large. The American response to war is one in which a general anesthesia and distance to raw power and destruction is supported and, at the same time inevitable. Alsoudani cannot escape the reality of terror abroad so easily as he was born in Iraq and experienced a gamut of dictatorships first hand in Baghdad, Syria, Jordan, and Lebanon. He claims, "struggling is a daily issue . . . living with the war minute by minute." So, his work functions more as a documentation of his responsiveness to charged situations rather than a fixed journalistic approach. In this sense, he responds actively in his formal decision-making, always present in the process. His point of view as an American citizen with a very distinct background contributes to his position that the past does not exist. As history relegates events to a conclusion, he sees in a constant present in which the horrors of the past constantly replay and afflict the present. - Text by Richard Goldstein Ahmed Alsoudani was born in Baghdad, 1975. He holds a BFA in painting from the Maine College of Art in Portland, and he is currently enrolled in the MFA program at Yale University, New Haven, Connecticut. His work has been exhibited in The Atrocity Exhibition at THIERRY GOLDBERG PROJECTS; at The Museum of Contemporary Art, Portland, Maine; The Gwangju Museum of Art, Gwangju, South Korea; and at Filament Gallery, Portland, Maine. Image: Ahmed Alsoudani Courtesy of THIERRY GOLDBERG PROJECTS, New York THIERRY GOLDBERG PROJECTS, New York Read on... THIERRY GOLDBERG PROJECTS, New York |
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 Freight +
Volume, New York TIMOTHY HULL The Swarm of Possible Meanings Surrounding the Ancient Pyramids 8 Sept - 13 Oct 2007 "O' Occident, O' Orient! Rapprochez, regardez, reconnaissez, saluez, étreignez-vous."- Papal envoy at Suez Canal, 1864 Rummaging through histories of Egyptology and the incidence of Egyptomania in the Occidental world, Timothy Hull's exhibition at Freight + Volume will resemble a conceptually focused yet rambling cabinet of curiosities. This variegated Wunderkammer will consist of sundry, plaster Egyptian tourist statues, scents of funerary unguents, sounds of Egyptologists describing their discoveries, armchair traveler landscape videos, and a collection of feathery, heavily patterned drawings and built-up, mosaic-like oil paintings. A varied cast of characters make appearances throughout the exhibition via drawings, paintings and mixed media works... men of adventure and tomb robbers, scientists, archeologists, ancient Egyptians, pharaohs and their personal effects, icons, books, museum pieces and venerable statues, the mysterious sphinx, and of course the great pyramids themselves. Together they comprise a sense of something justified and ancient to quote the esoteric stadium-house band the KLF. I met a traveler from an antique land Who said, Two vast and trunkless legs of stone Stand in the desert. Near them on the sand, Half sunk, a shatter'd visage lies, whose frown And wrinkled lip and sneer of cold command Tell that its sculptor well those passions read Which yet survive, stamp'd on these lifeless things, The hand that mock'd them and the heart that fed. And on the pedestal these words appear: My name is Ozymandias, king of kings: Look on my works, ye mighty, and despair! Nothing beside remains: round the decay Of that colossal wreck, boundless and bare, The lone and level sands stretch far away. -Percy Bysshe Shelley, 1817 This project is born out of a particular passion and interest in a certain process of understanding; 'non satis scire...' to know is not enough. It is difficult to discover meanings, even through exhaustive research and digging. One can only distill what they read, see and what they find and then compose an idiosyncratic tableau vivant of what has occurred. Timothy Hull continues to concern himself with the nuances and intersections of history and mythology to locate an eclipse within fact and fiction. He further explores the way Westerners digest and perceive ancient cultures and artifacts- demystifying and reinforcing the stereotypes equated with them, casting a new light on Orientalism. The swarm of possible meanings acknowledges that the search is conceivably as fascinating as the discovery. Timothy Hull received his BA from NYU in 2002 and an MFA from Parsons School of Design in 2006. His solo exhibitions include Klaus Von Nichtssagend Gallery, Brooklyn, Taylor de Cordoba Gallery, Los Angeles and he has been included in exhibitions at Bellwether, ZieherSmith, and CRG Gallery in NY; BBS in Tokyo; Bucheon Gallery in San Francisco and Pianissimo in Milan, Italy. He currently lives and works in Brooklyn, New York and Warwick, New York. Image: Timothy Hull Courtesy of Freight + Volume, New York Freight + Volume, New York Read on... Freight + Volume, New York |
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 Nice & Fit,
Berlin Anton Stoianov 1 Sept - 20 Oct 2007 Nice & Fit will present two distinct bodies of work by Bulgarian born artist Anton Stoianov. His solo exhibition of panel paintings will open on the 1st of September in the main gallery while a series of ink jet prints and drawings will be shown from September 29th in the Nice & Fit Showroom. Directly referencing Byzantine icons by employing traditional materials (wood from his native Sofia, gold) he also insists on stylistic similarities such as flat silhouettes against golden backgrounds, unbroken contours that enclose the shapes and scenarios that at first glance seem to be drawn from well-known examples of Byzantine painting. The "Pantocrator" though is less the judge of the world, or a formal manifestation of heavenly power: in Stoianov's universe this stern figure becomes a symbol of earthly delights, with a body adorned with elegant, all-over tattoos and a sizeable joint in hand. Elsewhere, amongst an assembly of saints in multi colored robes and bright halos, there emerge large glasses of mouthwatering beer. The use of this outmoded style apart from a sincere, albeit humorous retake also reveals an interest in sub- cultures: religious, and sexual, or more broadly, an interest in rituals, dress codes and signs that delineate practices, obsessions and attachments to objects. This aspect of his work is also evident in the ink jet prints and drawings that complement and clarify his artistic motivations. Both the icons and the works on paper emphasize the devotional, fetishist quality he is interested in by means of their presence as "objects". The thick, vibrant wood of the paintings, and then the various ways of displaying the works on paper. The ink jets, based on photographs mostly of events such as the Folsom Street Festival in San Francisco, depict a vast humanscape animated by a theatrical disposition and delectation for ornament. To make this doubly visible, Stoianov adds rivets, over paints, sandwiches the prints between clear rubber, or attaches them on blackened frames. The totality of the work comes off as a circuit of visual memories and cultural awareness from the aesthetics of orthodoxy in an ex-communist country to the collective experiences of Panoramabar in Berlin. Anton Stoianov was born in Sofia, Bulgaria in 1978. He studied in the Universität für Angewandte Kunst, Vienna and is a recent graduate of the Universität der Künste, Berlin. He lives and works in Berlin. Image: Anton Stoianov Courtesy of Nice & Fit, Berlin Nice & Fit, Berlin Read on... Nice & Fit, Berlin |
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Next Newsletters re-title.com now lists more than 500 galleries and 1400 artists in our directories of emerging contemporary art and is searched and researched by more than 200,000 art professionals every month. re-title.com newsletters now reach out to over 24,000 recipients. The next re-title.com newsletters are scheduled for: Photography / Film & Video - September 4-5 Sculpture / Installation - September 12-13 Mixed Media - September 18-19 Painting / Drawing - September 25-26 Advance Autumn | Fall 2007 schedule now available. Please contact us to discuss and schedule your requirements for September 2007 - July 2008 These newsletter features are an exclusive service for re-title.com members. Please contact us to arrange inclusion in these newsletters and to discuss your publicity requirements in more detail. contact us for more information |
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