Born in London, 1976, lives and works in London and New York
Piers Secunda’s aim in life as an artist is to make records of the time in which he lives. Making a record of the violent attempts by ISIS (the Islamic State in Iraq and Syria) to erase our collective cultural heritage in the Middle East is a matter of real importance and urgency to him. For this reason he traveled to the front line of the war against ISIS in Iraq in 2015 to cast ISIS bullet holes.
“Occasionally a moment occurs in which it is worth taking the risk to travel to a dangerous place. This was one such moment.”
In Art Historical terms, Secunda’s work reminds me of Picasso’s “Guernica” and Goya’s “Los Desastres de la Guerra” — but in a Postmodern minimalist way.
1995-1998 BA Painting, Chelsea College Of Art, London
1994-1995 Foundation, Surrey Institute Of Art, Farnham
Selected exhibitions including solo projects
2016 Pergamon Works. New York University, New York (Solo show)
2016 Engines and Panoramas. Bermondsey Project Space, London. (Solo show +Catalogue)
2015 Raw: Word And Image. Space 776, Brooklyn, New York
2015 Community Hospital. WhyWhyArt. Shanghai
2015 Tribeca Film Festival. Spring Studios, New York (work donated as best documentary award)
2015 Archived Oil. David Krut Projects, New York. (Solo show)
2014 The Rise Of Oil. Jessica Carlisle Gallery, London. (Solo show)
2014 The Social Bases of Abstraction. UpDown Gallery, Ramsgate. Curated by Ben Weidel Kaufmann
2014 Art Asia in London Fair. Guus Roell Fine Art, Maastricht.
2014 War Stories. William Holman Gallery, NYC. Curated by Anthony Haden-Guest
2014 Art14. UpDown Gallery, Olympia, London.
2013 One. UpDown Gallery, Ramsgate.
2013 Winter Exhibition. Small Works Gallery, Brisbane, Australia.
2013 Piers Secunda: A Retrospective. UpDown Gallery, Ramsgate (Retrospective show +Catalogue)
2013 Taliban Paintings. Kuub Kulture Space, Utrecht, Holland. (Solo show)
2013 W-A-R. Jacob’s Island Gallery, London
2013 Let Me Introduce… UpDown Gallery, Ramsgate
2012 Black Gold. Vegas Gallery, London
2012 The Materiality of Paint. Fine Art Society, London
2012 Taliban Bullet Holes. Small Works Brisbane, Australia (Solo show)
2012 Piers Secunda. Kuub Kulture Space, Utrecht, Holland (Solo show)
2012 L&M Arts. Hong Kong Fair
2012 Taliban Bullet Holes. YK Art, Moganshan Rd, Shanghai (Solo show)
2012 Paradox, The Limits of Liberty. Castrum Peregrini, Amsterdam
2012 No One To Hear You Scream. Saamlung Gallery, Hong Kong
2012 Immortal Nature. Edel Assanti, London. Curated by Gordon Cheung
2011 Taliban Reliefs and Crude Oil Silkscreens. Aubin Gallery, London (Solo show). (Catalogue)
2011 Signal8. Cat Street Gallery, Hong Kong
2011 The Great Alonso. Primo Alonso Gallery, London
2011 The Nature of change: Hybridity and Mutation. HRL Contemporary, London (Catalogue)
2011 Equisite Corpse. Zero Ten Gallery, London
2010 The City Folding Out. Yong Kang Lu Art, Shanghai
2010 Uber Collision: Epic Fail. Idea Generation, London
2010 The Earth Draws It. Zero10 Gallery, London (Solo show)
2010 Mob Remedies. Gallery Primo Alonso, London
2010 Fakirs. Island6, Shanghai, China
2009 Tate The Biscuit. Shoreditch Town Hall, London
2009 Piers Secunda. Island 6, Shanghai, China
2009 Paperview. John Jones, London (curated by Danny Rolph)
2008 The Future Can Wait: New London School, (Catalogue) Truman Brewery, London
2008 Mashups. DACS, London
2008 Counterpoint, British Sculpture Now and Then. Robin Katz Fine Art, London. (with Anthony Caro. Eduardo Paolozzi, Conrad Shawcross, Barbara Hepworth etc.)
2008 Space Now. Space, London. (with Yinka Shonibare, Mark Wallinger, Saskia Olde Wolbers, Hew Locke etc.)
2008 Superscope. Lounge Gallery, London
2007 Piers Secunda, Paint Assemblages. Nettie Horn Gallery, London (Solo show)
2007 The Lucifer Effect. Gallery Primo Alonso, London (with Gordon Cheung, Boo Ritson, Anne Hardy etc)
2007 Noel Forster and Piers Secunda: Paintings and Constructions. The University Of The Arts (Catalogue)
2005 Secret. Royal College of Art, London
2005 The Gentle Art of Making Enemies (Catalogue)
2005 Salon Show. Hollow Gallery, London.
2005 Yabadabadoo. Cell Project Space, London.
2003 Paint In 2003. Century Gallery, London. (Catalogue)
2003 10 Selected Works. Vogue House, Conde Nast, London.
2002 Kiosk. The Kiosk Project, London.
2000 Paint! Tivoli Arts Co-Op, Tivoli, New York.
1998 The Temporary Museum. (with Chris Ofili, Gavin Turk, Peter Blake, Richard Long, Bob and Roberta Smith and Cornelia
Parker, London). (Catalogue)
1996 Roll On-Roll Off. exhibition inside a Double Deck Bus, touring art
1995 August Exhibition. Sotheby’s, London.
1994 Nicholas Thorp Gallery, London.
Articles, Reviews and Essays and Radio Broadcasts
2012 Vreihijd Magazine (Holland) Shot Into Paint, Catherine Somze
2012 Randian Magazine, No One To Hear You Scream, Christopher Moore
2012 Lust And Found magazine, Piers Secunda, January 2012.
2011 The National, (UAE newspaper) Artist Puts Crude Oil To Use To Explore Materials History, Ben East 7th December 2011
2011 Phaidon website, Piers Secunda’s Art Attack, November 2011
2011 FX Magazine, Taliban Bullet Holes. Anna Lewis
2011 Resonance FM, Taliban Bullet Holes, Half hour discussion broadcast on FM Radio in London, November 2011
2011 The Independent, Piers Secunda’s Taliban Relief Paintings, 15th November
2011 Six Pillars, discussion of the Taliban works. LBC FM radio, London
2011 Time Out Magazine, Hybrids. 3rd March publication
2010 The Independent, Anti Design, Daisy Bowie-Sell 21st September
2010 Real Magazine, Design week and Art, November/December edition
2010 Last FM, Uber Collision Epic Fail, 18th September 2010
2009 CN Review, Fakirs, Kai Pan, published 4th January 2010
2008 ID magazine, Mashups, Nate Lowman
2008 The Future Can Wait: New London School, (Catalogue)
2008 The London Paper, Mashups, August 19
2008 Houston Press “Paydirt: Thames Mudlarks”, Troy Schulze (work illustrated)
2008 Art Monthly “Superscope”, Cherry Smyth, March
2008 Time Out “Rainbow Straightener” Martin Coomer
2008 The Guardian Guide “Rainbow Straightener”
2007 Fash’ N Riot May 2007 Edition (work Illustrated)
2007 Jack Wakefield, Paint Sculpture (press release)
2007 Martin Holman, Piers Secunda: No Tub To A Whale…(catalogue essay)
2007 David Ryan, Noel Forster and Piers Secunda Paintings and Constructions (catalogue)
2003 Dr. Tom Learner, Head Conservator, Tate. Modern Paint (catalogue)
2002 James Bainbridge, Mobile Art, Guardian (work illustrated)
The University For The Arts (Chelsea College Of Art)
Aquest International, New York
The Weston Collection
Findlay Asset Management, New York
Howard Corporation, New York
Gottesman Collection, New York
Moore and Moore Arts
The Museum of Photography, University of Southern California.
McWilliams Collection, Santa Barbara, California
Borsetti Architecture, New York
Katz Fine Art, London
Dr. Michael Jacobs, New York
Sid Bass Collection, Texas
Guy Merison Collection, New York
Russel Toone, London
Ng Family Collection, London
Private Collections in the UK and US
December 1 – 6, 2015
We are returning with the newest works and look forward to an exciting week of art events.
CONTEXT Art Miami Pavilion | Midtown Miami – Wynwood
2901 NE 1st Avenue | Miami, FL 33137
BOOTH CTX 41
October 1 – November 25, 2015
For his first solo show at 532 gallery Danny Rolph presents a new body of work made over the last year. The visual impact of Rolph’s works engages the viewer’s senses in a delicious ferment. The high velocity color and fractured narratives explored in these recent paintings show an uncompromising commitment to explore the compositional potential on all the canvases and triplewall plastic that he works upon. Many references populate these new works. The influence of Pop Art as well as Vermeer’s studio narratives and Tiepolo-like skies are located in the sharp, delicate, clean, irregular and emotive compositions he employs. They are spatially indulgent and adhere to a vocabulary indebted to the power of visual discovery.
Rolph has an MA in painting from the Royal College of Art, London and was awarded the Rome Scholarship at the British School at Rome. He is a professor of Fine Art at Bucks New University and is a visiting lecturer at the Royal Academy Schools, London. Rolph’s recent solo exhibitions include ‘Paradiso’, Barbara Davis Gallery, Houston 2014; ‘Atelier’, E.S.A.D. Valence, France 2013; ‘kissing balloons in the jungle’, Poppy Sebire gallery, London 2012 and ‘ten minutes from now’, Eden Rock Gallery, St.Barths, Caribbean 2011. His work is represented in many international collections including the Metropolitan Museum of Art, New York and the Tate Gallery, London.
Suburban Scenes, Poetic Paintings and Apocalyptic Art
Jessica Rohrer, Darrell Nettles and Jorge Tacla in this week’s Fine Art
Darrell Nettles’s paintings, gallery press materials say, “are ergodic in the deepest and most satisfying sense of the word.” Ergodic is a math/physics term indicating a system that operates over both time and space. Applied to the handsome, elegantly ordered letter-and-word pictures of Mr. Nettles (b. 1948), it seems to mean that the viewer is intended to appreciate them both spatially as paintings and sequentially, as texts to be read.
In terms of the former, the artist does a fine—actually, a refined—job. “When You Look at Me” (2014), at 82 by 60 inches one of the two big paintings in the show, is as dignified as a diplomat’s three-piece suit. Two smaller near-abstractions with partial letter shapes incised in thick white or black paint are more vigorously arresting.
The exhibition slumps a little in the midsize panels (about 3 feet high by 2 feet across) with sprayed-and-masked-off whole words. In them, the painting quotient is less, the poetry part greater. The poetry is conventionally abstruse, but not much more than that.
June 4 – July 3, 2015
The paintings by Darrell Nettles in Broken Verse are ergodic in the deepest and most satisfying sense of the word: although they require a great deal of effort to unlock their secrets, the engagement they demand makes an encounter with them a rich and rewarding experience. Nettles’ linguistic impressionism employs the gravid ambiguity of language to reveal its deeper treasures; his visual meditations on the images and sounds of human communication owe as much to Klee and Kandinsky’s conflations of visual and musical composition as they do to the playful semantic games championed by the wordsmiths of Dada, Fluxus, and Pop.
Broken Verse is anchored by a series seven-foot-tall canvases arrayed edge to edge with dense pseudo-cryptographic patterns of thin block letters that are tightly juxtaposed and overlapped on soft-edged crossword puzzle grids. Elements have been added, effaced, and replaced into dense palimpsests; words emerge and sounds arise as the eye follows its own course. An underlying architectonic uniformity hints at a clandestine dialogue between the canvases. They speak from their own side with the compelling but exasperating self-assertion found in ancient cyphers and obscure old alchemical engravings.
In his most recent paintings, Nettles has gravitated toward texts that are more immediately legible on first glance, yet ultimately no less mysterious. Snippets of conversation torn from everyday life run from top to bottom in a font that recalls hand-stenciled shop signs; disjunctions and deliberate sidetracks are the mortar that holds them together. Phrases are stacked, clashed, amputated, and sometimes ripped apart and scattered chaotically. The resulting bits of quasi-proclamation and pseudo-communication are both sinister and amusing by turns, calling to mind the gentle snark of Ed Ruscha’s late-1970s word pastels: “drug allergy fake” loiters just far enough from “radical wonton” to establish plausible deniability. Ghostly snippets of text murmur faintly in the background like a mildly sarcastic chorus, echoing, multiplying, and subverting surface meanings (is that “permit tonight” or “hermit night”?). Behind the chatter’s misdirection is the nagging sense of a deeper significance that awaits excavation and exegesis. Nettles’ works dare us to acknowledge the primal and sometimes neurotic need we have to make sense of it all, and the magical ability that language has to both fulfill and thwart that need.
Pictured: Darrell Nettles When You Look A t Me, 2014 Acrylic on canvas, 82″ x 60″
For further information, please contact 532 Gallery Thomas Jaeckel by phone at 1.917.701.3338, or by e-mail at email@example.com
As he wraps up a fellowship at Harvard, the artist reflects on the experience and what comes next
Steven Heller in conversation with John A. Parks on his new paintings and show In New York.
New Paintings by Julie Langsam
April 30 – May 30 2015
In addition to the on-going ‘landscape’ series, Langsam continues to introduce new structures to her body of architectural scenes. Small brightly-colored paintings of floor plans assert the abstract qualities of the architectural blueprint, a two-dimensional depiction of a three-dimensional space. A large collaged floor piece made out of carpet depicts the floor plan of the Director’s Housedesigned by Walter Gropius in Dessau, Germany for the Bauhaus school. Color in these works is chosen through a random system.
In a series of drawings presented in a grid, walls are redacted and covered, [parts of buildings and the adjacent landscape] are replaced with a field of graphite gray. This [simultaneous veiling and overlay] conveys an absence, a void to be filled, but also embodies a curious push/pull effect: the graphic blocking and blotting out of surfaces serves as an intermediary screen that disrupts a structural coherence in reading these pictures. Gray squares, rectangles, trapezoids jump from drawing to drawing. While these images appear historically distant, they are also reanimated.
Langsam’s work playfully negotiates and questions the legacy of modernism on contemporary culture. Representations of toxic landscapes reference the painterly sublime, serving as the ground for modernist architectural marvels, structures that evoke notions of failed utopias. Her work is rendered in a curious flatness, where edges of iconic formalist, modernist paintings are flanked against photographic representations of the building. For Langsam, the canon appears less as a ‘barricade to storm than a ruin to pick through. The works presented suggest an attempt to navigate multiple legacies at once negotiating personal memory with art historical and institutional history.
February 20th, 1966. Ciudad Habana, Cuba
Lives in Spain
1989 Higher Institute of Art (ISA), Ciudad Havana, Cuba.
1984 “San Alejandro” Art Academic, Ciudad Havana, Cuba.
2015 Visiting Fellow Hutchins Center, Harvard, Cambridge, MA, USA
2010 Artist in Residency Mattress Factory Art Museum, Pittsburgh. PA, EUA.
2003 Artist in Residency. El Museo Diego Rivera & Francisco Oller, Buffalo, NY, USA.
2002 Guest Professor. Tufts University, Medford, Massachusetts, USA.
Guest Artist. Ceramic Workshop. Harvard University. Boston, USA.
Museo Nacional de Artes, Cuba.
Jersey City State University, USA.
Cuban Embassy, China.
Foundation AMBA, Brazil
Hainaut City Hall, Belgium.
Museo del Humor, San Antonio de los Baños, Cuba.
Bratton Gallery, New York, N.Y., USA.
Southside Gallery, Oxford, MS, USA.
La Boheme Fine arts Gallery, Miami, FL, USA.
Cinque Gallery, New York, N.Y., USA.
Center for Cuban Studies, New York, NY, USA.
Arte y Naturaleza, Madrid, Spain
Peggy Crafitz Collection, Washington DC, USA.
Chris Von Christierson Collection, London, UK.
Shelley and Donald Rubin Collection, New York, NY, USA.
W.E.B. Du Bois Institute for African and African American Research, Harvard University, MA, USA
2015. Presión Contenida Charpa Gallery, Valencia, Spain
2014 Corridas y Venidas. Breese Little Gallery, London, United Kingdom.
2012 Cannival / Carnival. Elio Rodríguez and Douglas Pérez. Bresse Little Gallery, London, UK.
Selva en las Paredes. Pumps Project, Las Cigarreras, Alicante, Spain
2009 Ceiba Negra Contemporary Art Center L ́Escorxador, Elche, Alicante, Spain.
2007 Remakes Frick Fine Arts Gallery. University of Pittsburgh, Pittsburgh, PA. USA.
2006 Elio Rodríguez/Mayra Alpizar. Cervantes Institute. London, United Kingdom.
Ceiba (with artist Susana Guerrero) IX Havana Biennial. Provincial Center of Art Gallery, Havana City, Cuba.
2005 Remakes Gallery 23 y 12, Havana City, Cuba.
2003 Quilts & co. Open Studio, VII Havana Biennial. Casa Gaia, Teniente Rey # 157, H. Vieja, Havana City, Cuba.
2001 El Macho: Made in Cuba El Museo Diego Rivera & Francisco Oller, Buffalo, NY, USA.
2000 Vogue Ludwig Foundation of Cuba, Havana City, Cuba.
Elio Rodríguez UNEAC/ Nicolás Guillén Foundation, Havana City, Cuba
Elio Rodríguez/René Peña Galerie Winance-Sabre, Tournai, Belgium 1999 Mulatisímas “La Casona” Gallery, FCBC, Havana City, Cuba.
1997 La Gran Salsa “23 y 12” Gallery, VI Havana Biennial Havana City, Cuba.
1996 Las Perlas de tu Boca Gallery Serigraphy Workshop, Havana City, Cuba.
1995 Paladares Alternative Gallery “Espacio Estudio”, Havana City, Cuba
Paladares Student Union Gallery, Jersey City State University, NJ, USA.
1994 Tropical Gallery House of Young Creator, V Havana Biennial, Havana City, Cuba.
Recent Works Arts Space Gallery, Jersey City State University, NJ, USA.
1993 Morboutopías Center for Development of Visual Arts, Havana City, Cuba.
1991 El Macho Centro Provincial de Arte, Havana City, Cuba.
¿Mami, qué será lo que quiere el negro? Art Faculty Gallery, Havana University, Havana City, Cuba
Harvard University, Thompson Room, Barker Center, Cambridge, MA, USA (Feb 2015)
Du Bois Institute for African and African American Research, Harvard University, MA, EUA (feb. 2012) New York University, New York, NY, USA. (oct, 2010)
CUNY. Graduate Center. New York University, NYC. USA. (Nov. 2007)
Connecticut University, Hartford, Connecticut. USA. (Oct. 2007/Oct. 2010)
Pittsburgh University, Pittsburgh. USA. (Oct. 2007/Oct 2010)
Centro Provincial de Artes Plásticas y Diseño, Habana, Cuba (March. 1997)
Centre of Development of Visual Arts, Havana City, Cuba (Sept. 1998)
Massachusetts College of Art, Boston, Massachusetts, USA. (Oct. 2001)
University at Buffalo, State University of New York, USA (Nov. 2001/Oct. 2002/Nov 2007)
Hunter College, New York, NY, USA (Sept. 1995)
Rutgers State University, Newark, NJ. USA. (March. 1996)
Jersey City University, Jersey City, NJ, USA (1995/96/97/2000/2002)
Mississippi University, Oxford, MS, USA (1998)
Tufts University, Medford, Massachusetts, USA. (Oct. 2001)
Sumei Interdisciplinary Arts Center, Newark, NJ, USA (1995/1996)
Arts University “Miguel Hernández”, Altea, Alicante, Spain. (Oct. 2005)
2015 En Voz Alta Thomas Jaeckel Gallery, New York, NY,
Bodegón Fabrica de Arte Cubano, Havana, Cuba
Drapetomania Cooper Gallery, Cambridge, MA, EUA
2014 Iconografias de la Desobediencia Punto Gallery, Valencia, Spain
Manipulación Mediática en el Arte Cubano Contemporaneo Center of Development of Visual Arts, Havana City, Cuba
Drapetomania Diáspora Museum, San Francisco, LA, EUA
Consonantes. Serigrafías del Taller Christian Walter Fundacion Antonio Gala, Cordova,
Drapetomania The 8th Floor Gallery, New York, NY, USA
2013 Citizens of the World. Cuba in Queens. Queens Museum, New York, NY, USA.
Drapetomania. Center of Development of Visual Arts, Havana City, Cuba.
Drapetomania. Art Provincial Center, Santiago de Cuba, Cuba.
2012 El Deporte, Derecho del Arte (parte I) Gallery Espacio Abierto, Havana, Cuba.
Queloides. Race and Racism in Cuban Contemporary Art W.E.B. Du Bois Institute for African and African American Research, Harvard University, MA, USA
2011 Ya se Leer Wifredo Lam Center, Havana City, Cuba.
Cuban Gold. Contemporary Cuban Prints London Print Studio, London, United Kingdom.
Queloides. Race and Racism in Cuban Contemporary Art 8th Floor Gallery. NYC, EUA 2010 Without Masks Johannesburg Art Gallery, Johannesburg, Sudafrica.
Queloides. Race and Racism in Cuban Contemporary Art Mattress Factory Art Museum, Pittsburgh. PA, EUA.
2009 Queloides. Race and Racism in Cuban Contemporary Art Centro Wifredo Lam, Havana City, Cuba
X Bienal de la Habana. Genero (Trans)Genero y los Degenerados. Centro Cultural Bertold Berth. Havana City, Cuba
Diana Copperwhite, an Irish painter living and working in Dublin, deserves more attention than she currently receives. Her “Shadowland,” a colossal, color-filled expressionist work humming with energy, brings to mind Richter and others from the new European school.
John A. Parks
New York Paintings
March 26 - 6 pm through April 25, 2015
Once again it is a great pleasure to exhibit new paintings by John Alexander Parks and most especially because he has recently been making paintings about New York, his adopted home for more than three decades. For much of this time Parks has painted subjects that bear on English life using his vantage point as a British exile. Those pictures are often at once nostalgic and gently ironic. Parks brings a new energy, lively wit and considerable poignancy to his very personal vision of New York.
A gifted colorist, sensitive draftsman and delightful handler of paint, Parks mixes whimsical humor and enormous sympathy for his subjects. His works are inviting, accessible and entertaining but their full import can take time to sort out and fully savor. They are the paintings of an artist who is thoroughly and wonderfully engaged with the world around him.
Although he has kept a modest profile as an artist Parks has accrued some serious critical acclaim over the years. Writing in the New York Times as long ago as 1982, the great critic John Russell described Parks as “…a true poet in paint and something of a find.” In December of 2012 Roberta Smith, the current chief art critic of the Times, described Parks’ painting as “…a treat to discover.”
Parks was born in Leeds, England in 1952, and studied at the Royal College of Art in London. He has lived in and around New York since 1976 and was represented for many years by Allan Stone, the legendary art dealer and gallerist. He is a member of the faculty of the School of Visual Arts in New York where he teaches drawing and painting. He recently authored a general introduction to the world of art entitled “Universal Principles of Art,” Rockport Publishing, 2014. His work is in the collection of the Victoria and Albert Museum, London, the Museum of the Rhode Island School of Design and many others.
February 27 – March 21, 2015
Opening Reception, Thursday February 26, 6-8pm
Curated by Rachel Weingeist
We are pleased to present En Voz Alta (Aloud), an exhibition of works by twelve Cuban-born artists: María Magdalena Campos-Pons, Alberto Casado, Duvier del Dago, Meira Marrero & José Toirac, Liudmila & Nelson, Yunier Hernandez, Joseph Michael Lopez, Armando Mariño, Douglas Pérez Castro, Reynerio Tamayo, Carlos Rodríguez Cárdenas, and Elio Rodríguez – seven living in Havana, four in the United States and one in Europe.
The steady erosion of the United States embargo against Cuba, since 2009, has given hope to many there and abroad that normalization between the two countries is possible. On the island, opportunity, or the perception of it, are more plentiful than ever. Many Cubans are celebrating the potential bounty, hoping that electronic connectivity and open trade are now or soon will be within reach.
The educational system in Cuba has produced prolific and undeniable talent whose artwork is now being lauded by art critics, curators and collectors as the best-kept secret in the art market today. The process of passing on a lineage under the Cuban system of student to artist to professor is as persistent and durable as Cuban culture itself.
En Voz Alta “gives sudden voice to an easy coupling of artists,” according to Rachel Weingeist, the curator, who wanted to respond to “the emotions that Cuban artists are expressing – generated by the recent political shifts.”
Everyone wants to know what is next in Cuba’s future. Perhaps artist duo Meira Marrero and José Toirac’s tarot card deck, bound in leather of 24 cards, titled Profile, will shed light. This work is charged with symbols inspired by the iconic interview that resulted in One Hundred Hours with Fidel, the infamous tell-all in the words of the Revolutionary himself, published in 2006.
In this exhibition, as art often manifests, humor and the realities of daily routine are intertwined. All of the artists in this show are influenced by current and recent political events: Douglas Perez’s painting, December 17th in the White House, refers to President Obama’s announcing the restoration of a diplomatic relationship with Cuba, and we witness Michelle and Barack Obama dancing on a banquet table, dishes flying in celebration. Duvier del Dago, well known for his light and string drawings, positions a larger-than-life nude Cubana at a podium set in a futuristic public square, orating to a raucous and fictional crowd. María Magdalena Campos-Pons, revered for her sensual imagery, offers Unspeakable Sorrow, a ceremonial black-on-black portrait of despair, loss and abandonment, a howl, in which the flowering Amaryllis is the only trace of life or color.
Rachel Weingeist is a contemporary curator and cultural advisor who has curated over twenty-five Cuban exhibitions that range in theme and scale. Over the last five years, Weingeist built the largest private Cuban art collection to date and created the first contemporary Cuban video archive, which has traveled widely. She is a member of the Harvard Cuban Studies Advisory Board and actively participates internationally in cultural and political dialogue.
Image: Duvier del Dago, The Story Belongs to the One Telling It, 2014 Watercolor & Ink on Paper 28 x 39 inches
PULSE NEW YORK
125 West 18th Street New York, NY 10011
Diana Copperwhite Skanner Darkly 2015
Oil on canvas, 72 x 96 inches
Danny Rolph JV3 2014
Oil on Canvas, 84 x 72 inches
Metropolitan Museum of Art, New York
January 17 – February 14, 2015
532 Gallery Thomas Jaeckel presents an exhibition of work by Ira Richer.
Including recent paintings and earlier works in Formica that were shown at Nosei Gallery.
When describing the work Anthony Haden-Guest writes:
These pieces combine deft materiality and wit. As with the hammer, the magnet, the exclamation point, the scribbled title in “Gulf”. So too the paintings. Richer’s palette inclines to early summer and isn’t scared of black. Note the shadow in “The Yellow Cave”. His line can be at once elegant and muscular as in the “Massage”Painting in a way reminiscent of early Hockney – and there’s nothing whatsoever wrong with that – but where Hockneys are purposefully allusive, something anecdotal, these are simply what they are. A fully-formed figure is often a presence, as dominant as in Munch or Dubuffet, but as with these artists, they are not borrowed from elsewhere. The picture-plane is the petri dish in which they exist. Nothing decorative, every form has meaning, but it is often enigmatic.
An engaging shape that is central to two canvases looks somewhat like a tuber or – it is pinkish – might it be a human organ? It doesn’t matter. Richer’s form happens to be based on a female figure, bending. Behind her, on one canvas is the table at which Cezanne’s card players are seated and the other seems to sport black shoes and gloves. Hamlet, toying with Polonius, says: Do you see yonder cloud that’s almost in shape of a camel? Decoding forms is a natural function of the brain.
So the paintings in the show look kind of radical in a period of when so much that floats its seemingly critic-proof way through the market looks strategic rather than felt. “When I think of Munch’s Scream. I think how lucky he was to have a pier to scream on above Oslo, by himself all alone.” Ira Richer says, “Man has become a species whose land is reduced to a table top. His existence is engineered and contorted by others. And the last indignity- is- we have to hold our smile”. I see fugitive signs that the times may be a-changing though.
These paintings are such signs of life.
Ira Richer studied at Cooper Union (BFA) and at Yale University (MFA). Ira is a Professor of Drawing and Advanced Painting at the School of Visual Arts, New York. His work is in the collection of the Vincent van Gogh Foundation Arles, France; the Bob Blackburn Collection/Smithsonian Institute; the J.Patrick Lannon Foundation; the Francisco Pellizzi collection; the collection of Lucien, Yolande and Ann Clergue among others.
Armando Marino, The Raft ( La Patera) 2014 , Bronze, 50x 23×20 inches
The CONTEXT | Art Miami Pavilion Midtown |
Wynwood Arts District 2901 NE 1st Avenue
Miami, FL 33137 www.contextartmiami.com
November 13 – January 10, 2015
When describing Diana Copperwhite’s work Colm Toibin wrote:
“Her work is about painting first and foremost; [these] references merely serve a purpose. Thus digital images which freeze and fragment an original image fascinate her, but such images in themselves are not enough, they provide a way into the painting. It is their visuality which inspires rather than any precise sense of a blurred or fragmented reality. Because she physically likes making paintings, everything is subservient to what paint will achieve.”
Copperwhite makes paintings that move fluidly between representation and abstraction. Photographs, montage and assemblage all aid the process and become ancillary works that pin down fleeting thoughts, glimpses and reactions to a media saturated age. Her interests and sources are eclectic and wide ranging, from social media to philosophical debate to art historical references. Yet, as Toibin points out, her paintings are no more about the image than they are about the process of painting itself. Her work is phenomenological in that momentarily emotional responses override the need to capture reality. Something has piqued her interest and from that initial interest she thinks in colour, in tone, and texture, in setting herself a visual problem to which there is no single definitive solution. Her palette is composed of murky undertones punctuated by bright neon rifts. The fluidity and expressiveness of the painting gives little hint of the rigorous and formal abstract principles applied to the making.
Diana Copperwhite studied Fine Art Painting at Limerick School of Art and Design and the National College of Art and Design, Dublin. She completed an MFA at Winchestor School of Art, Barcelona in 2000. Diana is a tutor at the National College of Art and Design,Dublin. Her work is in the collection of the Irish Museum of Modern Art and the Arts Council of Ireland, and also in collections in the United States, Europe and Australia.
The writer Colm Toibin is currently Irene and Sidney B Silverman Professor of Humanities at Columbia University. He is an IMPAC Dublin Literary Award prizewinner, and has appeared on the Booker shortlist, most recently in 2013 for his play the Testament of Mary.
Untitled, Oil on canvas,54x76 inches
Born in 1984. Lives and works in New York and Paris
2008 – 2009: Post-graduate year, Ecole Nationale Supérieure des Beaux-arts de Paris, Paris, FR
2003 – 2008: Ecole Nationale Supérieure des Beaux-arts de Paris (ENSBA), in Jean-Michel Alberola’s studio, Paris, FR. DNAP (Diplôme National d’Arts Plastiques) Bachelor Degree in Art in 2006.
DNSAP (Diplôme National Supérieur d’Arts Plastiques) Masters Degree in Art in 2008.
CURRENT SHOW: September 21, 2014 – January 4, 2015: Anonymous, at the Queens Museum, NY, USA
January 28 – June 22: Anonymous: Contemporary Tibetan Art, Group show at the Fleming Museum, curated by Rachel Perera Weingeist, Burlington, VT, USA.
September 6 -October 4: Imaginary Places, 532 Gallery Thomas Jaeckel, New York
-In Between, Group show at Rossi&Rossi Gallery, curated by Tenzing Rigdol, London, UK.
-Anonymous: Contemporary Tibetan Art, Group show at the Dorsky Museum, curated by Rachel Perera Weingeist, New Paltz, NY, USA. -Situation Raw, Group show at the Wix Lounge, curated by Rachel Wells, New York, NY, USA.
-Invasive Ways, Solo show at What Goes Around Comes Around, Brooklyn, NY, USA.
-Grand Harvest Show/ Juried exhibition at the WAH Center, Brooklyn, NY, USA. -Invasive Ways, Solo show at What Goes Around Comes Around, Brooklyn, NY, USA. -PAF Art Fair, London, UK.
2011/ -Altérations, La Générale, Sèvres, FR.
-Aléas, Group show at La Cabine, Paris, FR.
-Across the Land, Himalayan Festival, La Pagode de Vincennes, Paris, FR.
-21st Biennale d’Art Contemporain de Cachan/ juried exhibition, Cachan (94), FR. -Salon des Réalités Nouvelles, young artist invited, Parc Floral, Paris, FR.
2009/ -Join Us, Group show at La Générale, Sèvres, FR.
Selected for one month residency at the Golden Foundation, New Berlin, NY: September 7 – October 4, 2014
Untitled (Golden Yellow) Acrylic on canvas, 72 x 60 inches
October 9 – November 8, 2014
Over the arc of his career, Ian Hughes has honed a distinctive visual language in which paint reveals its lushest and most viscous qualities while simultaneously giving shape to bio-reminiscent forms that have a compelling life of their own. In Twisted Figures, his third solo show at 532 Gallery Thomas Jaeckel, Hughes’s latest series of acrylic paintings pushes this language into a new phase in which the shapes on the canvases continue to self-confidently assert their own presence, yet begin to move beyond an earlier, more matter-of-fact reliance on organic and visceral associations.
Twisted Figures reflects a subtle turn in Hughes’s paintings toward motifs that are slightly more elusive in content, while retaining the beautiful but vaguely stomach-churning core of his earlier works. Many of the latest pieces feature the same intense, warm palette and pseudo-anatomical imagery set against flat monochromatic backgrounds, such as Green Ovals, which presents a smooth fleshlike surface against which brightly rendered rolling forms in pink, white, and orange suggest intestines, buttocks, and/or reproductive organs. Yet patches of textile-like patterning and a handful of amorphous shapes scattered throughout hint at a much wider range of associations, from soft pillows to eerie but strangely inviting otherworldly landscapes.
In some of the new paintings, Hughes sets up a tension between more organic, down-to-earth colors—such as the duller hamburger/flesh pink in Untitled (Taupe) —and contorted masses that are much harder to pin down. Still other canvases veer in the opposite direction by merging undulations of vivid, carnivalesque blues, pinks, oranges, or greens with somber dark swathes into curves that evoke chaotic balloon sculptures or failed attempts to wring order from unruly sausages of brute matter. In Untitled (Golden Yellow) and Red Wrap, the brushstrokes begin to assert themselves in a way that seems to subtly threaten the integrity of the forms they comprise, thereby highlighting the importance of paint as the essential substrate for Hughes’s cheerful-yet-disquieting images. The juxtaposition of painterly effects (rounded forms and illusionistic volumes) with more graphic elements (flat, opaque backgrounds and sharp edges) strongly reinforces this message. The result is a potent comment on the powerful tension between medium and image that has haunted painting for as long as abstraction has existed, or perhaps since the first images were daubed on a cave wall millennia ago.
For further information, please contact 532 Gallery Thomas Jaeckel by phone at 1.917.701.3338, or by e-mail at firstname.lastname@example.org
September 4 – October 4, 2014
532 Gallery is pleased to present new works by Marie-Dolma Chophel and Lennart Rieder.
Marie-Dolma Chophel’s works are inspired by topography and integrate 3D structures with organic forms and colors to form an abstract landscape of imaginary places. She graduated from the Ecole Nationale Supérieure des Beaux Arts de Paris, France. Marie-Dolma’s work has been shown in the U.S., including recent exhibitions at the Fleming Museum and at the Dorsky Museum, and in London, Paris and Hong Kong. She lives and works in New York and Paris.
Lennart Rieder’s process oriented works touch on classic motifs and references in painting, placing them in a contemporary context. His work has been shown at Parcours d’Artistes, Brussels; MFA ,Documenta Halle, Kassel; Coup de Ville, Sint Niklaas, Belgium; Strzelski Gallery, Stuttgart; Stellwerk Kassel, Kunstverein Familie Montez, Frankfurt; Habsburger Kunstverein, Hamburg. Lennart lives in Kassel, Germany.