Author Archive

Context-ArtMiami

December 5-10, 2017

Context Art Miami
Booth C117
One Herald Plaza
NE 14 Street
Miami FL 33132

 

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Elio Rodriguez: Black Gardens

 

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Whitehotmagazine “THE BEST ART IN THE WORLD” October 2017

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Gustavo Acosta

Acrylic on canvas<br /> 90 x 66 inches<br /> 2017

GUSTAVO ACOSTA

Born in Havana, Cuba.1958.

Studies: School of Visual Arts San Alejandro, Havana.
Superior Institute of Art ( ISA ), Havana.

PUBLIC COLLECTIONS

Museo Nacional de Bellas Artes. La Habana, Cuba.
Centro Wifredo Lam. La Habana, Cuba.
Teatro Nacional. La Habana, Cuba.
Museo de Arte Carrillo Gil, MACG. Mexico City. Mexico.
Museum of Contemporary Art. MOCA. Miami, USA.
Diputación Provincial de Ciudad Real. Ciudad Real, Espana.
Lowe Art Museum. Miami, USA.
Cuban Heritage Collection. University of Miami. Miami USA
Fort Lauderdale Art Museum. Fort Lauderdale, USA.
Nassau County Museum of Art. New York, USA.
Farber Collection.
Museo de Arte Contemporaneo. Panama, Republic of Panama.
The Lehigh University Art Galeries Teaching Collection. Bethlehem, Pennsylvania, USA.
University of Souththern California’s Fisher Museum of Art. USA.
El Museo del Barrio. New York, USA.
Frost Art Museum, Florida Internacional University. Miami USA.
American Carrier College. Newport Beach, California.

SELECTED ONE PERSON EXHIBITIONS

2016 “Paper Trail” Panamerican Art Projects. Miami.
2015 “Timeline” Latin American Masters. Santa Monica, California.
2014 “Space of Silence” Caixa Cultural. Sao Paulo, Brazil
2013 “Space of Silence” Caixa Cultural. Rio de Janeiro, Brazil.
“There”, Panamerican Art Projects. Miami.
2012 “Duda”. Raymaluz Art Gallery. Madrid, Spain.
“A Journal of References”. Frederic Boloix Fine Arts. Ketchum, Idaho.
2011 “Here”, Panamerican Art Projects. Miami.
2010 “Art of Illusion”. Latin American Masters. Santa Monica, California.
“Gustavo Acosta” Frederic Boloix Fine Arts. Ketchum, Idaho.
2009 “The Time Machine”, Lile O. Reitzel Arte Contemporaneo. DR
“Questions to the Mirror”, Museum of Contemporary Art. Panama.
”The Great Systems”. Panamerican Art Projects, Miami.
2008 “Hipotesis de la Locura”, Pan American Art Projects. Miami
“Transit Zones”, Latin American Masters. Los Angeles, CA
“Recent Works”, Pan American Art Projects. Dallas, TexaS
“Temporary Current” Bentley Gallery. Phoenix, Arizona.
2007   “The News of the Day”, Alonso Art Gallery. Miami.
2006 “Los Juegos del Principe”, Nina Menocal Gallery. Mexico DF.
2005 “Empire of Dreams”, Latin American Masters. Los Angeles, CA

SELECTED GROUP EXHIBITIONS

2016     “La Madre de Todas las Artes” Wifredo Lam Center oF
Contemporary Art. Havana, Cuba.
2015     “Iconocracia” Centro Vasco de Arte Contemporaneo. Vitoria, Spain.
“Shades of Gray” Panamerican Art Projects. Miami
“Agave y Caña”. Mexican Consulate Gallery. Miami.
“Resilence, The Other Cuba”. Contemporary Cuban Art,  Minneapolis, Minnesota.
“The Reynardus Cuban Art Collection”. Selby Gallery at Ringlin  College. Sarasota, Florida.
“Cuban Art, The 80’s Generation”. Museo Linares, Nuevo Leon. Mexico.
2014    “Welcome to the Jungle” Panamerican Art Projects, Miami.
“Trayectos de Ida y Vuelta, Grafica Transiberica Desde Miami”,
Diputacion Provincial de Huelva, Spain.
“Papertrail” Latin American Masters, Los Angeles.
“Made in Miami” Panamerican Art Projects, Miami.
“Figurative & Abstract in Latin American Art. Nova Southeastern, University. Fort Lauderdale, FL
2013      “Global Caribean”, The Haitian Cultural Arts Alliance. Miami.
“Works on Paper”, Miami Hispanic Cultural Arts Center
“1 Bienal del Sur en Panama”. Panama.
“Flying”, Kunstlerhaus Bethanien. Berlin. Germany.
“8 Derivas por la Ciudad Liminal”, Carrillo Gil Museum of Art.  MACG. Mexico City
2012       “Urban Lifecycles”. Sun Valley Center for the Arts. Ketchum,  Idaho.
“Urbanitas”. Panamerican Art Projects, Miami
“Caribes”. Casa Cortes Collection. San Juan, Puerto Rico.
“Fans Forever”. MDC Museum of Art + Design. Miami.
“Persistence of Memories”.Broward College New Gallery. Fort Lauderdale. Florida.
2011       “Florida Contemporary 2011”. Patty & Jay Baker Naples Museum of Art. Naples, Florida.
“Campos de Asociaciones. Dialogos y Silencios entre Practicas de Dibujo. Centro Cultural Simon
Bolivar. Guayaquil, Ecuador.
2010        “Latin American Art: 3. Cuban Selection from the LUAG Teaching Collection. Bethlehem, PA.
2009         “Irreversible”. CIFO, Miami
“Herir la Memoria”. Siguaraya Gallery, Berlin.
“No son Todos los que Estan”. Nkisi Projects. Miami.
2008        “Visiones: 20th Century Selections from the Nassau County Museum of Art,
Boca Raton Museum of Art. Florida.
“Recent Acquisitions”. Latin American Masters. Beverly Hills, CA
“Unbroken Ties”, Museum of Art / Fort Lauderdale.
“Miami Ciudad Metafora”, Spanish Cultural Center, Miami.
“Andamiajes”. Allegro Gallery. Panama City, Panama
”Giants in the City”. Artformz Alternative. Bayfront Park, Miami.
2007         “La Fuerza del Guerrero”. Homenaje a Juan Francisco Elso.
Galeria Luz y Oficios. Havana.
“Cuba Avant-Garde: Contemporary Cuban Art from the Farber Collection”
University of Florida’s, Samuel P. Harn Museum of Art.
“Art From Cuba” Oscar Niemeyer Museum. Curitiba. Brasil
“A Traves del Espejo, Arte Cubano Hoy”. Galeria Allegro, Panama City, Panama.
2006          “Layers: Collecting Cuban-American Art” University at Buffalo Art Gallery. New York.
“Tastes & Tongues”. The Spanish Cultural Center. Miami
“Rising Stars: North Latin Americans”, Nina Menocal Gallery,  Miami.
2005          “Real Space – Imaginary Space”, Praxis International Art,  New York.
2004         “Erase una vez en Mexico”, Mexican Institute, Miami
“De Ida y Vuelta”. The Spanish Cultural Center, Miami.
2003          “Paper Cut I”. ARSAtelier, Union City. New Jersey
“Xll Muestra de Pintura y Escultura Latinoamericana”, Espacio Gallery, El Salvador.
2002        “XI Muestra de Pintura y Escultura Latinoamericana”, Espacio Gallery, El Salvador.
“Reality and Figuration: The Contemporary Latin American Presence”. Boca Raton Museum of Art. 1990        “Nuevas adquisiciones contemporáneas”, Museo Nacional, Havana, Cuba.
1989         XX Bienal de Sao Paulo, Sao Paulo, Brazil.
1988        “Sings of Transition”, Museum of Contemporary Hispanic Art, New York.
1987         Bienal de Cuenca, Cuenca, Ecuador.
1986         Segunda Bienal de La Habana, Havana, Cuba.
1985         Salón UNEAC. Museo Nacional, Havana, Cuba.
1984          Primera Bienal de La Habana, Havana, Cuba.
1983          “Encuentro Latinoamericano de Artistas Jóvenes”, Casa de la  Américas, Cuba.
Salón de Dibujo Joan Miró, Barcelona, Spain.
“Paisaje del Paisaje”, Holland, Belgium, Switzerland, Finland,Czechoslovakia, India.
1982          Salón Nacional del Paisaje, Museo Nacional, Havana, Cuba.

SELECTED AWARDS
1992   Medalla de Oro en Pintura, Primera Bienal del Caribe, Dominican Republic.
Medalla de Oro por el país mejor representado, Primera Bienal del Caribe, Dominican Republic.
Premio en Pintura del LVII Salón Nacional de Arte, Valdepeñas, Spain.
1991    Premio en Pintura, III Bienal de Cuenca, Cuenca, Ecuador.
1988   Premio en Pintura, Salón UNEAC, Havana, Cuba.
1984   Premio Nacional de Dibujo, Primera Bienal de La Habana, Havana, Cuba.

 

 

 

 

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Gustavo Acosta: “Inventory of Omissions”

 

September 7 – October 14, 2017

The paintings in Gustavo Acosta’s “Inventory of Omissions” may initially seem like discrete chapters in a visual essay on the oppressive bleakness of the modern city, but such a reading misses the point of his static but intensely hued portrayals of sites in Havana, Miami, New York, and Aleppo. A closer and more thoughtful observation of these canvases reveals the artist’s focus on drawing our attention to the small flashes of vitality and inspiration lurking within each setting’s apparent drabness, and quietly warning us about the things that threaten to obscure our awareness of the vibrant world that’s immediately around us. Throughout these works, there is a concern with engaging with the neglected and the antiquated in the hope of revealing its meaning and its living purpose for the present.

Acosta’s rectilinear overlays of strong, intensely moody colors are the defining element of a unique visual language that integrates multiple subtle allusions to reason and its traditions — the ideal planned-city street grid; the Golden Ratio and its long history as a supposedly true and self-evident compositional principle; the sharp-edged, no-nonsense Bauhaus aesthetic — each of which in turn so partly symbolizes humanity’s forceful and conceited imposition of a supposedly more perfect and efficient order upon nature’s seeming unruliness.

However, each filter-like patch of color also hints that there are life-affirming revelations awaiting discovery in the seemingly exhausted old world immediately around us. The dawn-to-midnight juxtaposition of yellow, maroon, and dark violet in Catalog of Missing Parts II (2017) suggests a single scene viewed at different times through disparate eyes; the painting’s sunny accentuation of a few lively windblown palm trees clustered alongside a massive, inert concrete complex speaks of life’s joyous persistence in the face of entropy, cultural stagnation, and humanity’s fussy and stubborn desire to forever halt time by means of structures and systems. Acosta has said that his use of color in these works is partly rooted in an old memory of people in his native Cuba crafting their own versions of color television by tinting their black-and-white screens with abstract patterns of bright pigments. The story is a perfect symbol of Acosta’s faith in people’s ability to create their way out of the stultifying constrictions of a programmed rational system, if only they can learn to look closely at the world around themselves in search of its small wonders.

Yet Acosta’s paintings also remind us of how easily memory and perception can become fuzzy, especially when technology and mediation intervene to obscure our most vivid and immediate experiences of the world around us. In The Temptation to Look Back (2017), the serene, dark-blue image of a ship’s wake is violently bisected by a thin, garish yellow band that distorts the sea’s graceful undulations into a garish pixelated parody (once again, a technological grid intrudes and has its way with the natural world). A view of Niagara Falls is given a similar treatment in The Shortcut (2017), with an added wrinkle: the scene is derived from an 1857 painting by Frederic Edwin Church, making Acosta’s canvas an image of an image, a scene twice removed from nature and twice distorted by an additional level of nostalgic artistic and historical mediation. In these images, Acosta hints that we must never take nature or our connection with it for granted; there’s always another intrusive and artificial system of control lurking on the margins, waiting to deaden our perceptions. As in his cityscapes, the question as to whether our use of the world will help us perceive its concealed spark of divine life or lead us to snuff it out through domination and neglect is left up for grabs, and it’s up to us to never let our perpetually endangered sense of wonder become permanently entombed beneath the rubble of our collective past.

Whitehot Magazin Review October 2017

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SUMMER 2017

Gallery is currently closed and reopen  September 7th, 2017:  Gustavo Acosta’s  “Inventory of Omissions”

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X Years After

oil on canvas 92 x 70 inches

X Years After: Thomas Jaeckel Gallery’s first decade in New York

November 10, 2017 – January, 13 2018   Please note that the gallery will be closed during Art Miami week Dec 5-10

In celebration of our tenth year in New York, 532 Gallery Thomas Jaeckel presents X Years After, an exhibition of works by fourteen of the artists we’ve been privileged to work with over the last decade. The show’s participants include artists from the United States, Europe and Cuba; the selection of works on display showcases the gallery’s commitment to exhibiting striking and thought-provoking works that embody a wide range of styles, techniques, mediums, and artistic visions.

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LAST PICTURE SHOW

May 11 – June 29, 2017

Chris Ofili, Danny Rolph, Diana Copperwhite,  Elio Rodriguez, Mary Heilmann,  Jill Levine, Rebecca Smith, Vanessa Jackson

there is no harm in repeating a good thing
-Plato

An exhibition of work which posits the idea that creativity exists in not knowing, maybe the answer is “I can’t go on, I’ll go on”.  Risk is imperative, but we still know very little about the potential of what works and why.  The pendulum has always swung between abjection and elation. Qualities such as tenderness and humour connect this ensemble, a conversation often overlooked in favour of what can be read or justified. An exhibition showing a particular group of artists, who look to possess these qualities, inhabit new and old at the same time.  History is apparent in a show like this but so is the future through the prism of the present.

The title refers to the Peter Bogdanovich film of 1971 “The Last Picture Show” which was shot entirely in black and white, harking back to an earlier time (again old and new) populated with a soundtrack of pop songs and presenting actors including Cybil Shepherd and Cloris Leachman at different stages of their respective careers in dialogue together. There seems no reason for the town they inhabit in the film (set in 1951) to exist, but the directness and simplicity of the depiction creates a space which allows for dialogue and a kind of transgression to occur?

 

 

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Piers Secunda: ISIS Bullet Holes Paintings

 


Piers Secunda
ISIS Bullet Holes Paintings

April 6 – May 6, 2017

There is a horror and a fascination in something as apparently permanent as a building, something that one expects to last many a human span, meeting an untimely end.
— Robert Bevan, The Destruction of Memory: Architecture at War

All the shot works originate from the idea that the most valuable thing an artist can do is to record the world around them.
— Piers Secunda

Gathered together and displayed to potent effect at 532 Gallery Thomas Jaeckel, Piers Secunda’s ISIS Bullet Hole Paintings are the latest iteration of an ongoing project in which casts of bullet holes gathered from war torn or heavily militarized places are arranged into compositions that serve as both an indexical record of real world damage and a haunting reminder of the threat that contemporary armed conflict presents to our collective history. These works were created through a painstaking and sometimes risky process.
In late 2015 while under the protection of Peshmerga (Kurdish) soldiers, Secunda visited Iraqi villages recently liberated from ISIS and made direct casts of the damage inflicted on walls and other structures by gunfire. On returning to the studio, he arranged these within flat molds derived from ancient Greek and Assyrian artworks, poured in white industrial floor paint, and left it to set. The resulting objects are stark and compelling evocations of the barbaric violation of cultural heritage that is all too common in contemporary wartime. The violent erasure of noble classical imagery—gods, kings, elegant warhorses—beneath Secunda’s constellations of bullet-hole disfigurement elicits an acute feeling of loss and decay. In Assyrian Horse and a relief from the Pergamon:

Temple of Zeus (both 2016), the annihilation unfolds as a sequence of discrete moments frozen in time, with each succeeding panel rendered more fragmentary than the last until there is little to nothing of the original image discernable. Temple of Zeus is particularly pointed, for its use of a slick and absurdly faultless nineteenth-century restoration of the Pergamon Altar seems to hint at the futility of the age-old human desire to reverse the course of time in search of Eden.
Despite the obvious sculptural quality of these works, Secunda considers them to be a natural outgrowth of his continuing evolution as a painter, and has sometimes described them in terms that evoke the centuries-old tradition of arresting time’s passage in paint and freezing fleeting moments before they’re gone forever.

Although the ISIS Bullet Hole Paintings were not conceived as political statements per se, their emergence from his desire to capture the texture of geopolitics in paint has resulted in a body of works that succeeds as both a record of the ravages of time—aided in this case by much human brutality—and as a meditation on how fleeting and fragile even our greatest cultural achievements really are.

Recent exhibitions:
“Pergamon Alterations” New York University Institute of Fine Arts, New York 2016. “Perfectionism III”
Griffin Gallery, London 2016. “Piers Secunda, Circling Skies” Art Bermondsey Project Space, London 2016.
“The Missing: Rebuilding The Past” John Jay College CUNY, New York 2016.
“The Missing: Rebuilding ThePast” Jessica Carlisle Gallery, London 2016.
“Raw: Word And Image” Space 776, Brooklyn 2015.
“Community Hospital” WhyWhyArt, Shanghai 2015.

Art Newspaper March 30, 2017

Media Inquiries

Nadine Johnson & Associates Inc.
+1 212 228 5555

Gia Kuan
gia@nadinejohnson.com

Anna Lund
anna.lund@nadinejohnson.com

 

 

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Bernard Ammerer


Bernard Ammerer   (1978 Wien)

Bernard Ammerer (1978) lives and works in Vienna. He graduated University für angewandte Kunst, Wien in 2010 and is the recipient of the Strabag Art Award.
Recent exhibitions include “Vorher Nachher” Galerie Frey Wien (solo), Dagong Art Museum, Qingdao (group), ”Subjects” Galerie Drees, Hannover, (group) “A Better Place” Galerie Frey, Salzburg,(solo) “You Choose” Berlin Art Projects, Berlin(group).

Biografie:

2003-2010 Universität für angewandte Kunst Wien bei Johanna Kandl und Wolfgang Herzig
2004    Teilnahme an der Sommerakademie für Bildende Kunst in Salzburg bei Xenia Hausner
2001     Abschluss des Studiums der Rechtswissenschaften

 Exhibitions (select) / Ausstellungen (Auswahl):

2017      „Hi(ghly) Unreal“ Galerie Frey, Wien (solo)
2016    „Interface“ 532 Gallery Thomas Jaeckel, New York (solo)
2015    DAGONG Art Museum, Qingdao, China (group)
„Figur,Struktur. STRABAG Artcollection“, RLB Kunstbrücke, Tirol (group)
2014    „Figuration zwischen Traum und Wirklichkeit“,  Museum Angerlehner, Wels (group)
“Subjekt“, Galerie Robert Drees, Hannover (group)
“vorher nachher“ Galerie Frey, Wien (solo)
2013    “A better Place”, Galerie Frey, Salzburg (solo)
“Pulse Miami art fair”, Solopräsentation
2012    “State of Mind”, Galerie Frey, Wien (solo)
“ABC”, Stadtgalerie Ternitz (group)
“Preview”, Galerie Frey, Salzburg (group)
2011    “You choose”, Berlin Art Projects, Berlin (solo)
2010    “The Essence”, Künstlerhaus, Wien (group)  Diplomausstellung Universität für angewandte Kunst
2009    “Exit strategies”, Galerie Frey, Wien (solo)
First Danube Biannale, Meulensteen Art Museum, Bratislava, Slowakei (group)
2008    “7 parallel 7”, Artexpo, Museum für zeitgenössische Kunst, Bukarest (group)
“6 X 3”, Galerie Frey, Wien (group)
“The Essence”, Museum für angewandte Kunst Wien (group)
2007    “RED”, Galerie Frey, Wien (group)
Preisträgerausstellung Strabag Art Award, Strabag Kunstforum, Wien (group)
Qingdao Art Museum, Qingdao, China (group)
“move”, Strabag Kunstforum, Wien (solo)
2006    “The Essence”, Museum für angewandte Kunst Wien (group)
“Two Perspectives”, Galerie Frey, Wien (sol0)
“REAL”, Kunsthalle Krems (group)
2005    “New Perspectives”, Galerie Frey, Wien (group)
“Frisch gestrichen”, Akademie der bildenden Künste Wien (group)
“Malstrom”, Universität für angewandte Kunst Wien (group)
“Alle reden vom Wetter”, Hotel Kunsthof, Wien (group)
2004    Stadtgalerie Vienna (group)

Awards/ Auszeichnungen:  Preisträger Strabag Art Award

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The Weight of Words: Golden Irony

Jose Angel Vincench
“The Weight of Words: Golden Irony”
March 9 – April 1, 2017

My abstraction starts with testimony of the violent actions on the dissidents, but more than a political statement I prefer to talk about the silence in the civil society and art. The artworks absorb the cynicism of this society, they are ironically based on the human drama found in images and words. – José Vincench

As an artist who lives, works, and raises his family in Cuba, José Vincench’s personal experience stems from a place where the fabric of free thought and expression is compromised. But seeing it through positive irony, the artist points the finger at this negative reality by creating works with hidden meanings embedded in deliberately smoothly executed and decorative gold abstractions. Vincench’s engaging creations provide an enticing combination of politicized practice, conceptual soundness and polished works of art.

In his geometrical abstractions, he applies a set of invented codes and characters to create a simplified alternate discourse and experience. In his action paintings, he references the defacement of dissidents’ homes by government enforcers (unreported in the controlled press) in a sheen of illuminating gold.

Images of strife are transformed into a shimmering landscape of gold abstraction. The depth of the dissident movement, with its suppression and injustices, is displayed in a vision that seeks an idealized sense of order.

A gold painting has its seductive allure in the metaphor of gold and vibrations of light, giving depth to the surface of the painting. In this group of José Vincench’s most recent Revolución series, the canvases, large, medium and small, create a world of opposites.

Against the use of rhetoric as a means of symbolic domination, criticism, or attempt to transform social reality by activism, José Vincench applies his own sets of characters, idioms and codes to freely deconstruct this reality in exquisite golden works of art.

This is José Vincench’s second exhibition at 532 Gallery Thomas Jaeckel. One of his sculptures is currently showing at The Bronx Museum, “Wild Noise”, through July 3.

Vincench is a tenured professor at the graduate program of the Instituto Superior de Arte in Havana. His works are in the collections of the Museo Nacional de Bellas Artes Havana; Frost Museum, Miami; Rubin Foundation, New York; Perez Collection, Miami; UBS Art Collection, New York; Chris von Christierson Collection, London; Celia Birbragher Collection, Miami; CIFO Collection Miami, among other public and private collections worldwide. He is the recipient of the 2016 Art Nexus-EFG Bank prize.

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Winter Salon

 

February 4 – March 4, 2017

Reception: Saturday, February 4,  4-6pm

It’s that time of the year for the gallery’s annual Winter Salon.  This show features new works by Gustavo Acosta, Bernard Ammerer, Bergman & White, Marcy Brafman, Kathy Bruce, Marie Dolma Chophel, Jallim Eudovic, Reynier Ferrer, John A. Parks, Ian Hughes, Ilyan Ivanov, Julie Langsam, Nadja Marcin, Darrell Nettles, Alastair Noble, Eva O’Leary, Tanja Selzer.

Working across diverse media, including painting, photographs, mixed media, video, these artists pursue the addiction of art from varying and unique points of view. Brought together, their vibrant works create a space for seductive engagement and thoughtful perceptions.

 

 

 

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Diana Copperwhite: Signal to Noise

https://hyperallergic.com/349955/diana-copperwhite-signal-to-noise/

By Stephen Maine
Sometimes a single, simple pictorial device is all it takes to set your work apart.

Diana Cooperwhite, “Depend on the morning sun” (2016), 150 x 150 cm (all images courtesy Gallery Thomas Jaeckel, NY)

Sometimes a single, simple pictorial device is all it takes to set your work apart from your contemporaries. At mid-career, the Dublin-based painter Diana Copperwhite has hit upon a crazily recognizable way of applying paint that both updates (somewhat tongue-in-cheekily) the concept of the “autographic mark” so prized by the analysts of Abstract Expressionism, and simultaneously taps into a leitmotif of contemporary, computer-inflected visuality, the color gradient.

The new Diana Copperwhite monograph with an essay by Gail Levin and the painting “Confucious confused” (2016) on the cover.

She hasn’t totally figured out yet what to do with it, but her command of painting’s essentials is sure and her determination to work through the ramifications of this particular device amply evident, so it seems like just a matter of time before she starts making truly magnificent work.

Six oil-on-canvas paintings dated 2016 constitute Depend on the Morning Sun, Copperwhite’s second solo show at 532 Gallery Thomas Jaeckel. They are broadly and energetically painted, using (apparently) an array of tools for scraping, wiping, splashing, and smearing— nothing unfamiliar there.

But Copperwhite also uses wide, flat brushes that were evidently loaded with a precise sequence of hues along the bristles’ tips, so that the resulting stroke is a multi-colored band. The constituent colors blend a bit where they meet but generally hold their places in the line-up whether the mark is short and choppy, drawn out into a meandering trail, or (most often) something in-between, taking a curve or two. It is a flashy move — it could become gimmicky if Copperwhite’s not careful — but for the moment, at least, the artist’s mark-making chutzpah is working in her paintings’ favor.

Diana Cooperwhite, “Weird glamour” (2016), 230 x 180 cm

These blended blurs tend to be the paintings’ focal points. A tricolor swatch in red, pale yellow and yellow-green pops up near the center of “Green light,”flapping like a flag in the wind. Nearby, crimson and blue striations (merging into purple and violet variations) punctuate the canvas, structuring the otherwise chaotic space. Just above the centerline, an incongruous semicircular curve, fat with phthalo blue, naphthol red, and a salmon-pink core, puts a brake on the action around it— ultimately, it is the composition’s primary figure, and the rest of the painting is ground.

It may be an abbreviated human figure, as well — a cranium, to be exact. At the center of the 90-by-70-inch “Weird glamour” and the smaller but compositionally similar “A pale thunder” are juicy strokes tracing the unmistakable contour of head to neck to shoulder to upper back (or upper arm). In “Weird glamour,” a window of deep space behind the head and a subtle but telling diagonal descending from the upper left are enough to place the figure in an architectural interior: an office, maybe, full of free-floating banners and awnings in orange, scarlet, magenta and teal.

Diana Copperwhite, “A pale thunder” (2016), 100 x 100 cm

My American eye detects the possibility that California painters such as David Park and Elmer Bischoff, who painted figures and their immediate surroundings with both precision and laden brushes, lurk at the back of Copperwhite’s mind. (For that matter, so might the British painters Leon Kossoff and Frank Auerbach.) But beyond the matter of Copperwhite’s touch is the strong sense that the personage in the picture is going it alone in a hostile (or anyway bewildering) environment, making his or her way through a signifying blizzard of signs (be they icon, index, or symbol). As such, they are second cousins to Francis Bacon’s forsaken souls.

Bacon often isolated his subjects at the center of oppressively stark settings in which details are scarce. Copperwhite goes in the opposite direction but arrives at the same place; though nearly engulfed by the sensations that accrue to their situation, her head-and-shoulder figural units are no less isolated than Bacon’s naked, abject loners.

Not much in painting is truly new, but some tropes, once adopted, can be amplified and recontextualized, their potential rediscovered by another artist’s creative imagination. I associate this banded-brushstroke technique with Howard Hodgkin, who has for many years made occasional use of a rougher sort of proto-gradient, loading his brushes with multiple colors and laying in blunt and/or sensuous strokes of thick, multicolored paint.

In my read of Hodgkin, whose eye-hand coordination was formed well before the digital era, the device accentuates the manual; the much younger Copperwhite (b. 1969) makes it look technological, potentially abrasive and slightly hallucinatory. Not as hallucinatory as Bernard Frize does, mind you — though Frize seems to me to be concerned primarily with painterly procedure for its own sake. I’ve no doubt there are others working with this method. (There must be someone in L.A.)

“Predilection for fiction” contains no overt figurative hook. There are few indicators of architecture but for a pretty arch — two strokes of the brush — peeking out from behind the painting’s main event, a central, horizontal rectangle streaked vertically with some of the punchiest chroma in the show. Here as elsewhere, it appears that Copperwhite used a blending brush to further soften the transitions between the bars of color. The painting’s interior framing of this cloistered, intensified core echoes another of Hodgkins’ pictorial inclinations. It is a take on the painting-within-a-painting idea, or (if you shift the scale to landscape) maybe a drive-in-movie-screen-within-a-painting.

Diana Copperwhite, “Predilection for fiction”(2016), 170 x 230

At about five feet square, “Depend on the morning sun” is among the smaller paintings in the show, but it contains one of the broadest gradients — two horizontal-ish swipes of a brush outfitted with crimson, titanate yellow, Prussian blue and orange-pink, about a foot wide — slapped onto the upper right corner like a warning sign. Secondary, vertical banding on this patch looks like a blurred reflection such as you might see on the side of a passing train, and thus creates the illusion of rapid movement (which, interestingly, most of these blended passages don’t). Copperwhite uses whites, light grays and pale tints (especially pinks and violets) extensively, but here her snowy palette becomes chalky, and the artificial light she seems to be pursuing dissipates.

When a painting or other artwork is titled after a song lyric, you’ve got to wonder what aspect of the music is reflected in the art. New Order’s “True Faith” contains the phrase “depend on the morning sun,” so we surmise that a wistful daybreak epiphany of self-worth and personal agency is somehow relevant to Copperwhite’s motivation for the eponymous painting. But actually, looking at the show I found myself thinking about the great Dublin band My Bloody Valentine.

Phenomenally loud, MBV’s guitar-driven avant-rock features drifting, haunted melodic lines that emerge from a deluge of electronic distortion, dissonance, and pure noise. There are correspondences in the way Copperwhite’s squalls of non-depictive paint frame and support her shimmering pools and polychrome slipstreams, which seem to border on description (acid rainbows? ribbon candy streamers?) but sidestep mimesis. The music’s layered construction, cavernousscale, and otherworldly glissando effects call out for a Copperwhite painting on the band’s next album cover.

Diana Copperwhite, “Green light” (2016), 175 x 235 cm

The presence of an elliptical narrative is clearly discernible, if not readily deciphered, in Copperwhite’s paintings of just a few years ago. While the artist has eliminated (or temporarily set aside, as time will tell) all but traces of narrative from her working method in larger canvases, she continues to paint heads, roughly life-sized (though this show includes none). The attitude and disposition of these heads is so specific that they function as portraits, even though facial features are usually absent, partially obscured, or eclipsed entirely by passages of brushy paint.

On the same scale as these heads is “Confucius confused,” a real gem. It’s a raspy, slithering, half-head-shaped arc — purple into red into pink into a yellow or two into charcoal gray — against a tar-black ground. As usual, the palest hue (in this case, the pink) is the centermost stripe, so the whole stroke seems to radiate light, to glow. It’s both a curiosity in this show of ambitiously-scaled paintings, and its most succinct embodiment of Copperwhite’s paradoxically impersonal “signature” move. If only it were seven or eight feet wide!

So is Copperwhite’s work Ab Ex redux? No, but not because it isn’t truly abstract — why, de Kooning himself almost never quit the figure entirely. If a key strategy of historical Abstract Expressionism was to trim the lag time between impulse and response — the belief being that doing so would allow form to emerge from the subconscious, unmediated by culture, the “literary,” or the artist’s internal editors — then Copperwhite’s calculatedly eye-grabbing tricks with the brush are in quite the opposite spirit. (And anyway, you can’t go home again.) Rather, Copperwhite approaches “action painting” as an inherited language, to which she contributes some striking dialect of her own.

Diana Copperwhite: Depend on the Morning Sun continues at 532 Gallery Thomas Jaeckel (532 West 25th Street, Chelsea, Manhattan) through January 28.

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Susana Guerrero at CCE Miami: January 12 – March 1, 2017

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Jose Angel Vincench, Winner of the EFG – ArtNexus Latin America Art Award 2016

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Transition Magazine Cover Armando Marino

 

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Context Art Miami Nov 29 – Dec 4, 2016

 

Diana Copperwhite,  Confucious Confused 2016
( Detail) oil on canvas, 12″ x 16″

CONTEXT ART MIAMI 

Booth #203

Works by
Bernard Ammerer
Maria Magdalena Campos-Pons
Susana Guerrero
Ian Hughes
Les Joynes
Julie Langsam
Nadja Marcin
Armando Marino
John Parks
Elio Rodriguez
Piers Secunda
Tanja Selzer
Jose Vincench

New CONTEXT Art Miami Pavilion
November 29 – December 4, 2016
Midtown Miami | Wynwood
118 NE 34th Street | Miami, FL 33127

for directions click here

preview work on artsy click here

 

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Susana Guerrero

 

Professor at Miguel Hernández University, Fine Arts Campus, Altea, Spain, since 2003

ACADEMIC BACKGROUND

2012 Fine Arts PHD Miguel Hernández University, Elche, Spain.
2007 D.E.A. (Advance Studies Award), Miguel Hernández University, Elche, Spain.
1997 Graduated in Print at Polytechnic University in Valencia, Spain.
1996 Graduated in Sculpture at Polytechnic University in Valencia, Spain.
1992 1st Course of Artistic Excellence at Ceramic´s School in Manises, Valencia, Spain.     1991 2º Curse at School of Fine Arts and Craftiness in Alicante.

TRAINING

2008 Workshop ‘Tácticas contra la destrucción del Territorio’, runs by Eva Lootz. CAM. Alicante, Spain.
Collage Workshop, “Recortar” with Sean Mackaoui, Culture´s Institute Juan Gil Albert. Alicante, Spain.
2006 Workshop ‘Ceci est mon corps…ceci est mon logiciel. Orlan y la experiencia de la carne’ runs by Orlan, Cendeac Institute. Murcia, Spain.
2005 Workshop of Arts’ Critic “la Consulta”. Miguel Hernández University, Elche, Spain.
Workshop ‘Performance Body’, runs by Marina Abramovic, Cendeac. Murcia, Spain.
2003 Workshop Arte y Naturaleza. Art Critics Association of Valencia, Alicante, Spain.
Ferrography Workshop runs by José Manuel Guillém, Institute Juan Gil Albert.  Alicante, Spain.
Workshop de Experimental Graphics runs by Fernando Bellver, Fuendetodos. Zaragoza, Spain.
2001 III University of Sculpture. Foundation Eduardo Capa in collaboration with Miguel Hernández University, Elche, Spain, Castle of Santa Bárbara, Alicante, Spain.

FELLOWSHIP

2009 Fellowship. Project LLP-Erasmus. Accademia Belle Arti di Macerata, Italia.
2004 Fellowship from Artists Residency in Lithography at Münchner Kúnstlerhaus. Munich, Germany.
2003 Ceramic Fellowship LABORATORIO DE FORMA. Empresa Grupo Sargadelos, Cervo, Lugo.
2002 Fellowship ‘Program of Artistic Residency from Mexican Government thru Mexican Institute of International Cooperation from Foreign Affairs of Mexico, runs by Gilberto Aceves Navarro.
2000 Fellowship ‘Program of Artistic Residency from Mexican Government thru Mexican Institute of International Cooperation from Foreign Affairs of Mexico, National School of  Fine Arts, México.
1997 Fellowship PROMOE, Universidad Nacional Autónoma de México, Centro de Extensión Taxco, Guerrero, México.
1995 Fellowship ERASMUS en la Anotati Scholi Kalin Tehnon, Atenas, Grecia.

SOLO SHOWS

2013 LECHE NEGRA. MANANTIAL DE MUERTE. Las Cigarreras Contemporary Art Center, Alicante, Spain.
PARA LLAMAR A LAS FUERZAS. Punto Rojo Gallery, Granada, Spain.
A MÍLAS FUERZAS. El Tragaluz Gallery, Granada, Spain.
FESTIVAL MIRADAS DE MUJERES. Las Cigarreras Contemporary Art Center, Alicante, Spain.
2011 A MI LAS FUERZAS. El Viajero Alado Gallery, Lebrija, Sevilla, Spain.
2009 PARA LLAMAR A LAS FUERZAS. Atrio de los Bambús Gallery, Palau de la Música, Valencia, Spain.*
2008 EL ALIENTO. Fundación ARTSUR, Madrid, Spain.
2006  DIE STÄRKEE; LAS FUERZAS. Deposito 14 Gallery, Madrid, Spain.
LAS FUERZAS. Elche Contemporary Art Museum, Spain.*
2005 NO SE SI CORTARME LA CABEZA. Espacio BOP Gallery, Madrid, Spain.
LOS LEONES BLANCOS NUNCA ATACAN. Aural Gallery, Alicante, Spain.
2004 DIE STÄRKEE, Kunstlerhaus, Munich, Germany*.
¡NO ME CORTES LA CABEZA!, CAM, Elche Alicante , Spain *.
¡NO ME CORTES LA CABEZA!, Charpa Gallery, Valencia, Spain.
DE CÓMO CRECIERON LAS ESPINAS. Hotel Prince Park, Benidorm, Alicante
2003 Congress Palace of Elche, Elche, Alicante, Spain.
2002 NARICES CORTAS, CHISMES MUCHOS, CHILES SECOS, MENTIRAS               BRILLOSAS. Punto y Línea Gallery, Oaxaca, México.
DE CÓMO CRECIERON LAS ESPINAS. Municipal Art Center of Mislata, Valencia, Spain.*
CÓMO TE GUSTARÍA QUE FUERA TU CAMA?. Centro 14 Gallery, Alicante, Spain.*
2001 INAUGURACIÓN. Gallery Aural. Alicante, Spain.
A MI CAMISÓN LE CRECIERON ESPINAS. Gallery Dipósit 19, Alicante, Spain.
2000 MI CAMA. Casa del Lago del Bosque de Chapultepec Gallery, México D.F.
MI CAMA EN MEZQUITE 7. Casa Borda, Taxco de Alarcón, Guerrero, México.
1999 DELICIAS 23; MI CAMA. Cultural Center Alfas del Pi, Alicante, Spain.
MI CAMA. Cultural Center C.M. de las Dehesillas, Leganés, Madrid, Spain.
1998 DELICIAS 23. Cultural Center, Casa Borda, Taxco de Alarcón, Guerrero, México.
1997 DELFOS. Cultural Center U.D.E.S. de  B.B.A.A. Atenas, Greek.
1996 MI CAMA. Gallery Tintorera, Jávea, Valencia, Spain.

 

COLLECTIVES SHOWS (selection)

2016 ART SOUTHAMPTON 2016. 532 Thomas Jaeckel Gallery, New York.
BIENAL DEL DISEÑO DE LA HABANA, Havana, Cuba.*
ART NEW YORK CONTEXT FAIR, 2016. 532 Thomas Jaeckel Gallery, New York.
PÓRTATE BIEN. Fábrica del Arte Cubano, Havana, Cuba.*
MADRID DOS GENERACIONES Y MEDIA. Gallery Odalys, Madrid, Spain.
ES – + ES – – ES + + ES +. Foundation Frax, el Albir, Alicante, Spain.
2015 EUSEBIO SEMPERE EN LA CASA BARDÍN. HOMENAJE. Casa Bardín, Institute of Culture Juan Gil Albert, Alicante, Spain.*
ARTE CISORIA. Casa Bardín, Institute of Culture Juan Gil Albert, Alicante, Spain.*
2014 DES DE DINS. ART CONTEMPORANI DES D´ALACANT. Museum of Alicante University (MUA), Spain.*
ARTE CISORIA. Art Center Gallery Taller d´Ivars de Benissa, Spain.*
REVELACIONES. Container Art, Sevilla, Spain.
ARTE CISORIA. Archeologic and History Museum of Elche (MAHE), Elche, Spain.*
TRAZAS. Art Cultural Center of El Carmen, Valencia, Spain.*
MULIER, MULIERIS. VIII CONVOCATORIA DE ARTES PLÁSTICAS, Museum of Alicante University, Spain.*
2013 IMAGINACIÓN Y DESEO. Rector Gallery of Miguel Hernández University at Elche, Spain.*
MULIER, MULIERIS. VII CONVOCATORIA DE ARTES PLÁSTICAS, Museum of Alicante University, Spain.*
2012 IN FRAGANTI. ESPACIO TRAZA, Alicante, Spain.
CONVOCATORIA DE ARTES PLÁSTICAS Y FOTOGRAFÍA 2012. Alicante City Hall, Spain.*
2011 CARTOGRAFÍAS DE LA CREATIVIDAD. 100% VALENCIANOS. Center of Development of Visuals Arts de La Habana, Cuba.*
2010 CARTOGRAFÍAS DE LA CREATIVIDAD. 100% VALENCIANOS. Modern Art Museum of Santo Domingo, Dominican Republic.*
EFEMMERAS. Cervantes Institute at Tanger, Marroco.*
MEMORIA PERCIBIDA. Contemporary Art Museum of Guatemala.*
I BIENAL DE ARTE PÚBLICO de Navacerrada, Madrid, Spain.*
XXXIII PREMIO BANCAJA DE PINTURA, ESCULTURA Y ARTE DIGITAL. City Hall Museum, Madrid, Spain.
FM3. México Institute in Spain, Madrid, Spain.*
WHEN IMAGES…BECOME OBJECTS. Arte y Naturaleza Gallery, Madrid, Spain.
MIEJSCA PRZEKLETE, MIEJSCA SWIETE. Kazni Nowej, Cracovia, Polonia.
9ª BIENAL DE LA HABANA. Luz y Oficios Gallery, Havana, Cuba.
ESTAMPA 2005. Artsur Art Fair, Madrid, Spain.
ART FAIRE. Depósito 14 Gallery. Colonia, Germany.
VALENCIA IN MOMENTO. Villa Serena, Bolonia, Italy.
EL GRUPO, Gallery of Technical Superior School of Nautica, Santander, Spain.*
CORPOMODAMENTE. Planetario Gallery, Serre di Villa Rivoltella, Trieste, Italy.*
XX CONCURSO DE DISEÑO GRÁFICO, CARNAVAL 2006. San Vicente del Raspeig cultural Center, Alicante, Spain *.
PREMIO NACIONAL DE GRABADO MARBELLA 2004. Foundation Spanish Contemporary Print Museum of Marbella, Spain.
PREMIO NACIONAL DE GRABADO MARBELLA 2003. Foundation Spanish Contemporary Print Museum of Marbella, Spain.
AGUA. Museo el Chamizal, Juárez City, Mexico
2003 ROT ROSTIG ROT. Haus der Kunst, Munich, Germany.
2002 FUERA DE REGISTRO. Oaxaca, Mexico.
UNA GOTA DE AGUA. Manzanillo University Gallery, México.*
DES DE L´ALTRA RIBA. Contemporary Art Museum of Ibiza, Spain.*
11 MUJERES, 11 MIRADAS. Rigoberta Menchú, Leganés, Madrid, Spain.
IX PREMIO NACIONAL DE GRABADO Y ARTE GRÁFICO. National Chalcography, Fine Art Royal Academy  of San Fernando, Madrid, Spain/ National Chalcography Gallery, Madrid, / Pontevedra Museum/ Extremeño and Ibero-american Contemporary Art Museum, Badajoz/ Iglesia de las Francesas, Valladolid, Spain.*
PREMIO NACIONAL DE GRABADO MARBELLA 2001. Spanish Contemporary Print Museum of Marbella, Spain.*
VI BIENNAL INTERNACIONAL DE GRAVAT JOSEP DE RIBERA. Xàtiva cultural Center, Valencia, Spain*.
PREMIO INTERNACIONAL ELISA DE ESCULTURA. Palau Albert, Barcelona, Spain.
2000 ENCUENTROS DE ARTE CONTEMPORÁNEO 2000. Museum of Contemporary Art at Elche, Alicante, Spain.*
DI-VERSO. Museo Del Fuego Nuevo, Iztapalapa, Mexico D.F.
XIII JORNADAS ALARCONIANAS .Casa Borda, Taxco de Alarcón. Guerrero, Mexico.*
X ANIVERSARIO, MUSEO VIRREINAL, Casa Humboldt, Taxco. Guerrero, Mexico.
ARTE. Tixtla, Guerrero, Mexico.
CERTAMEN DE PINTURA SALVADOR SORIA- VILA DE BENISSA 2000. Cultural Center at Benissa, Spain *.
TODOS AL ARTE. Theater Mª Luisa Ocampo, Chilpancingo, Guerrero, México.
II PREMIO NAVARRA. Navarra Museum.*
POR MI RAZA HABLARÁ EL ESPÍRITU, Taxco Cultural Center, Autonomic Nacional University of Mexico.*
LA LUNA PUDO DETENERSE AL FIN. Homage to Federico García Lorca, International Center of India, Nueva Delhi, India. Installation and video (‘cada ver vivo’).*
II BIENAL DE ESCULTURA VILA DE MISLATA. Mislata Cultural Center Gallery, Valencia, Spain *.

(*) Catalog

AWARDS / SELECTIONS

2013 Selected. MULIER, MULIERIS. VII CONVOCATORIA DE ARTES PLÁSTICAS, Museum of Alicante University, Spain.*
2012 Acquisition. Fine Arts Contest 2012. Alicante City Hall, Spain.
Selected. MULIER, MULIERIS. VI CONVOCATORIA DE ARTES PLÁSTICAS, Museum of Alicante University, Spain.*
2011 Selected. XXXVII PREMIO BANCAJA DE PINTURA, ESCULTURA Y ARTE DIGITAL2011. Valencia, Spain.*
Selected. MULIER, MULIERIS. V CONVOCATORIA DE ARTES PLÁSTICAS, Museum of Alicante University, Spain.*
Selected MIRADAS desde la Fotografía: ARQUITECTURA ALICANTINA. Alicante Institute of Culture Juan Gil-Albert, Spain.
Selected. Fine Arts Contest 2011. Alicante City Hall, Spain.
2010 Selected. MULIER, MULIERIS. IV CONVOCATORIA DE ARTES PLÁSTICAS, Museum of Alicante University, Spain.*
2009 Selected. MULIER, MULIERIS. III CONVOCATORIA DE ARTES PLÁSTICAS, Museum of Alicante University, Spain.*
Selected. CORPÓREA. REPRESENTACIONES DEL CUERPO EN LA CONTEMPORANEIDAD. , Museum of Alicante University, Spain.*
2008 Acquisition. Certamen Galería 2007 Fine Arts Contest. Miguel Hernández University, Elche, Alicante, Spain.
Selected. I BIENAL DE ARTE PÚBLICO de Navacerrada, Madrid, Spain.*
2007 Selected. . Fine Arts Contest 2007. Alicante City Hall, Spain.
2006 Selected.  IX Mostra Internacional Unión Fenosa, Spain.
Selected.  XXXIII Premio Bancaja de Pintura, Escultura y Arte Digital, Spain.
2005 Finalist. ‘5 Award ARTIFICE de Pintura sobre papel’, Loja, Granada, Spain.
2003 Selected. Gallery Edgar Neville. Season 2004/2005. Valencia, Spain.
‘Premio CORZON’, Print National Award Marbella 2003, Foundation Spanish Contemporary Print Museum of Marbella, Spain.
2002 Award ´El Catalejo Gallery’. National Print Award Marbella 2001, Foundation Spanish Contemporary Print Museum of Marbella, Spain.
2001 Selected. Fine Arts Contest ‘Propuestas’, Centro 14 Gallery, Alicante, Spain.
Finalist. ‘International Award of Sculpture Elisa’, Barcelona, Spain.
Accésit. Hogueras Experimentales 2001. Alicante, Spain
Selected.’Propuestas artísticas para la sala de exposiciones’. Mislata, Valencia, Spain.
2000 Finalist. ‘Premio de Escultura Fray Luis de León’, Plasencia. Spain
Selected en el ‘Certamen de Jóvenes Creadores’ del Instituto Juan Gil Albert, Alicante, Spain.
1999 Acquisition de la obra en la ‘Convocatoria de Artes Plásticas 1999’, Alicante City Hall, Spain.
Selected. ‘II Premio Navarra de Escultura’. Pamplona, Navarra, Spain.
Selected. ‘Certamen de pintura puerto de la Luz’. Art Center La Regenta, Las Palmas de Gran Canaria, Spain.
1998 Selected. LXI CONCURSO NACIONAL DE PLATERÍA. Virreinal Museum, Taxco de Alarcón, Guerrero, México
1997 First Award. ‘National Sculpture Contest Villa de Leganés 1997’, Leganés.  Madrid, Spain (public sculpture)
Acquisition. ’Convocatoria de Artes Plásticas 1997’.  Alicante, Spain.
Selected. ‘XXIV Premio Bancaja de Pintura y Escultura’. Valencia, Spain.
Selected. ‘VII  Bienal de Escultura de Mislata”, Mislata. Valencia, Spain.
1995 Mention of Honor. ‘VI Premio de Artes Plásticas de Viguer’. Valencia, Spain
1994 Mention of Honor. ’V Premio de Artes Plásticas de Viguer’. Valencia, Spain.

COLLECCIONS

Kunstlerhaus, Múnich, Germany.
Instituto Mexicano de Cooperación Internacional, México.
Universidad Nacional Autónoma de México.
City Hall of Alicante, Spain.
City Hall of Leganés, Madrid, Spain.
City Hall of Elche, Alicante, Spain.
Instituto de Cultura Juan Gil Albert, Alicante, Spain.
Universidad de Cantabria, Spain.
Foundation Spanish Contemporary Print Museum of Marbella, Spain.
Universidad Miguel Hernández, Elche, Spain.
Palau de la Música. Valencia, Spain.

LECTURES

2010 Printing workshop. University of Pittsburgh, PA, USA.
Lecture. University of Pittsburgh, PA, USA.
Workshop La pantalla serigráfica como un lienzo: la técnica de la pantalla abierta. Miguel Hernández University. Altea, Spain.
2009 Lecture. Accademia Belle Arti di Macerata, Italy.
2008 Lecture at I.S.A. (Higher Institute of Art) Habana, Cuba.
2007 Printing workshop. University of Pittsburgh, PA, USA.
2002 Workshop. Exposición ¿cómo te gustaría que fuera tu cama?. Centro 14 Gallery, Alicante.
2000 Workshop ‘la Conceptualización en el Arte’. Instituto de Cultura de Morelos, Morelense Arts Center, Cuernavaca, México.

PUBLIC SCULPTURES

‘La cama de José’. Sculpture Museum of Leganés City, Madrid, Spain.

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Depend on the Morning Sun

 

Diana Copperwhite
Through January 28, 2017
Depend on the Morning Sun

The exhibition effectively extends the continuum of abstractions in color that have engaged the artist in recent years.  Fusing schematic shapes and fragments, her apparent abstractions recall a flash of connections through time, or maybe a glimpse of switching of identities, or the way an interior, or an external, space may be seen via moving digitized images.  We are drawn by the vivid light and color of her paintings and are left with a test in our bringing an identification of her imagery.

The exhibition is accompanied by new monograph ‘Fake New World’ with an essay by Gail Levin.
Diana Copperwhite makes big bold oil paintings that excite and stir our twenty-first-century perceptions.  Her compelling images are both complex and energetic.  She is never at a loss for the impulse to paint, though she is coy about revealing her concerns, often throwing the viewer just a few clues and leaving a lot of room for the imagination.  She creates an exquisite tension between abstraction and figuration or representation of any kind.  She appears to tease out this tension to hold our interest, as we both take in the visual splendor of her paintings and try to fathom what they are about.” (Excerpts from Essay)

Gail Levin PhD, Professor of Art History, American Studies, and Women Studies at Baruch College and the Graduate Center of CUNY.

Hyperallergic.com Review by Stephen Maine “Signal to Noise” January 7, 2017

Diana Copperwhite, born 1969, lives and works in Dublin.  Copperwhite has exhibited widely in Ireland and other countries in Europe.  Recent solo exhibitions include Driven by Distraction, Royal Hibernian Academy, Dublin, 2016, A Million and One Things Under the Sun, Kevin Kavanagh, Dublin, 2015, Shadowland, Thomas Jaeckel, New York, 2014, solo presentations at PULSE NY, 2015 where she was nominated for the PULSE prize and at Volta NY, 2013.  Copperwhite was awarded the AIB Art Prize in 2007 and her work is held in many important public collections, including the Office of Public Works, the Irish Museum of Modern Art, the Arts Council of Ireland, Limerick City Gallery of Art, Dublin Institute of Technology as well as private collections in Ireland, across Europe and in the United States.

 

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Susana Guerrero: Anatomy of a Myth

 


 

Susana Guerrero: Anatomy of a Myth
September 15 – October 22, 2016

 

We are pleased to present Susana Guerrero’s first US solo exhibition, Anatomy of a Myth in New York.

Through her inventions, Susana Guerrero is set upon taking up themes of mythology and utopia (mythopia), bringing together a genealogy of the materials, an anthropology of human experience, guided by the murmur of a dream.  She allows a perceptual interpretation of a different kind.

Many of Guerrero’s artworks evoke a contemporary mythology that puts on the same plane the visible physical reality, the substance of dreams and the subconscious, the hidden reality.

There’s a kind of reformulation of ancient mythologies, constituting personal thoughts of the sacred through mythical stories, traditions and legends, superstitions and intuitive revelations.

In the process of making the artwork, Guerrero reveals a binding ritual.  The choice of every material, the configuration of every shape, of every element, brings a poetic meaning and symbolism to her artwork.

Indications of imaginary blood and path through veins and arteries, active heart, organs out of place yet connected to a life system.  Guerrero may posit a relatively fractured or whole woman, or a person in different bodily states.  As she makes the crisply graphic work, more figurative forms are mixed with unspecifiable shapes or abstracted forms in parts of her composition.

Her most vivid construction would be derived from a varying “mythopia”.  The result is formed with features that may be confrontational or bacchanal.  Parts of it may be supposed to urge identification or resist it.  In this case, the filling of the space often places a situation akin to a breaking out, a way of purifying the spirit and getting to new ideas.

Susana Guerrero is a Fine Arts PHD, Miguel Hernandez University, Elche, Spain (2012).  She received an Advanced Studies Award (D.E.A.), Miguel Hernandez University, Elche (2007), and graduated Sculpture and Print, Polytechnic University in Valencia, Spain (1996-1997).  She was granted Fellowships from: Project LLP-Erasmus, Academia Belle Arti di Macerata, Italia (2004); Artist Residency in Lithography at Münchner Kunstlerhaus, Munich, Germany (2004); Ceramic Fellowship LABORATORIO DE FORMA, Empresa Grupo Sargadelos, Cervo, Lugo (2003); Program of Artistic Residency from Mexican Government thru Mexican Institute of International Cooperation from Foreign Affairs of Mexico, run by Gilberto Aceves Navarro (2002); Program of Artistic Residency from Mexican Government thru Mexican Institute of International Cooperation from Foreign Affairs of Mexico, National School of  Fine Arts, México (2000); PROMOE, Universidad Nacional Autonoma de Mexico, Centro de Extension Taxco, Guerrero, Mexico (1997); ERASMUS Anotati Scholi Kalin Tehnon, Athens, Greece (1995).

She is a professor at Miguel Hernandez University, Fine Arts Campus, Altea, Spain, since 2003.  Guerrero’s work is in several institutional collections, including: Kunstlerhaus, Munich, Germany; Instituto Mexicano de Cooperacion Internacional, Mexico; Universidad Nacional Autonoma de Mexico; City Hall of Alicante; City Hall of Leganes, Madrid; City Hall of Elche; Alicante Instituto de Cultura Juan Gil Albert; Universidad de Cantabria; Foundation Spanish Contemporary Print Museum of Marbella; Universidad Miguel Hernandez, Elche; Palau de la Musica, Valencia.

 

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Artnet News

Piers Secunda Unleashes the Horrors of War at the Duke House

by Anthony Haden-Guest, July 13, 2016

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Art Southampton

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Diana Copperwhite at Royal Hibernian Academy

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Bernard Ammerer “Interface”


Bernard Ammerer

Interface
May 19 – June 30, 2016

A woman races from nowhere to nowhere through an indistinctly rendered forest. A loose scattering of young men hovers in a strange white space, suspended in time. Solitary wanderers traverse barren plains toward destinations that loom invitingly in the distance, yet fade into disheartening insubstantiality upon arrival. At every turn, there is the sense of something forever sought but never seized.

In his first solo show in the United States at 532 Gallery Thomas Jaeckel, Bernard Ammerer depicts a private domain of desolate landscapes and vaguely restless figures that would border on the surreal if it didn’t feel so eerily familiar. Across the exhibition’s dozen canvases—all from this year and last—we see small cliques of physically and psychologically isolated people at uneasy rest or in frantic motion; cloud-filled skies looming serenely over flat, featureless, stark-white plains; and lone travelers in obscure territories that are shrouded in fog, reduced to cartoonish black silhouettes, or completely replaced with generic words—Wood, Field—that diminish nature to a worthless and empty abstraction.

Ammerer’s pointed and ironic titles often hint at the somber thread of disaffection that ties these works together. Interface—a six-foot-square canvas depicting a constellation of nondescript young men in jeans and t-shirts frozen mid-leap in a white void—is most notable for the palpable lack of physical and psychological interaction among its inhabitants. Fulfillment Problem—that bland euphemism from the realm of online commerce that so often signifies corporate ineptitude and consumer frustration—is paired with the image of a cloudy yellowish sky overrun with a chaotic, maze-like swarm of identical running figures lifted from a Children At Play traffic safety sign. The infantile and perpetually unsatisfying urge toward instant gratification that’s satirized here is subtly underscored by Boyhood, which presents the sad and wistful disembodied head of a child floating alone in a dark, nebulous space. It’s the only place in these works where an actual face can be seen, and its stark difference from the other canvasses hints at an irrevocable loss of naive serenity that no hoard of shiny toys, transient pleasures, or wanderlust can amend. The moral—for Ammerer’s oblivious protagonists as well as us—is perhaps best embodied in Home, with its ghostly white house at the end of a blank path in a barren field: far too often, our ill-considered quests away from ourselves in pursuit of the Next Perfect Thing leave us alone and exhausted before a hollow apparition.

Bernard Ammerer (1978) lives and works in Vienna. He graduated University für angewandte Kunst, Wien in 2010 and is the recipient of the Strabag Art Award.
Recent exhibitions include “Vorher Nachher” Galerie Frey Wien (solo), Dagong Art Museum, Qingdao (group), “Subjects” Galerie Drees, Hannover, (group) “A Better Place” Galerie Frey, Salzburg,(solo) “You Choose” Berlin Art Projects, Berlin(group)

For further information, please contact 532 Gallery Thomas Jaeckel by phone at 1.917.701.3338, or by e-mail at info@532gallery.com

Preview works here

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532 Gallery Thomas Jaeckel | Phone 917.701.3338 | info@532gallery.com | 532 West 25th Street NY 10001 Tuesday - Friday 11-6pm, Sat 12-6pm Follow 532 Gallery Thomas Jaeckel on Artsy