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Suburban Scenes, Poetic Paintings and Apocalyptic Art
Jessica Rohrer, Darrell Nettles and Jorge Tacla in this week’s Fine Art
‘When You Look at Me’ (2014) by Darrell Nettles. PHOTO: DARRELL NETTLES
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
In Conversation: Elio Rodríguez
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 her newest exhibition Tomorrow-land, Julie Langsam presents structures built specifically for mid-20th century World’s Fair exhibitions: Philips Pavilion designed by Le Corbusier and Iannis Xenakis, the Tent of Tomorrow & Observation Towers by Philip Johnson and Habitat by Moshe Safdie. In choosing these structures Langsam brings an additional level of engagement to her ongoing exploration into how our ideals as a society are manifest in our collective culture.
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
|Born London 1967
Lives and works in London
|1991 – 93
||Royal College of Art, MA Painting
|1988 – 91
||Winchester School of Art, BA (Hons) Fine Art
||Sovereign European Art Prize (nominated)
||Visiting Professor in Fine Art, Bucks New University
||Visiting Fellow, University of Southampton
||Hamlyn Award (nominated)
||London Arts: Visual Arts Award
||Rome Scholar, British School at Rome
|1994 – 96
||Delfina Trust Award
||John Minton Travel Award
||‘Paradiso’, Barbara Davis Gallery, Houston, USA
||‘ESAD atelier’, ESAD, Grenoble, Valence, France
||‘Duke of Burgundy’, Barbara Davis Gallery, Houston, USA
‘Kissing balloons in the jungle’, Poppy Sebire Gallery, London
||‘Ten minutes from now’, Eden Rock Gallery, St.Barts, Caribbean
||‘Multiverse’, Barbara Davis Gallery, Houston, USA
‘Brasilia’, Koraalberg Gallery , Antwerp, Belgium
‘Automatic Shoes’, Poppy Sebire Gallery, London
‘VOLTA 6′, New York, USA
||‘Simultaneous Dreams’, AR/Contemporary, Milan, Italy
‘Accelerator’, Barbara Davis Gallery, Houston, USA
||‘Jackson’, AR/Contemporary, Milan, Italy
||‘Happenstance’ AR/Contemporary, Milan, Italy
‘Singularity’ Barbara Davis Gallery, Houston, USA
||‘There is no such thing as pure’, Hales Gallery, London
‘Hinterland’, Barbara Davis Gallery, Houston, USA
||‘Obstraction’, AR/Contemporary, Milan, Italy
‘Rutherford’, Newlyn Art Gallery, Cornwall
||‘Locations’, Chapter, Cardiff
||‘Famous Italians’, Hales Gallery, London
||‘YK’, Mark, Oxo Tower, London
||‘FOCUS’, Paton Gallery, London
||Cultural Instructions, London
Metropolitan Museum of Art, New York
Tate Gallery, London
British Consulate, Rome
Coopers & Lybrand, London
Simmons & Simmons, London
Jerry Speyer, New York, USA
Michael A.Ross, New York
Khodr Collection, Beirut
Thompson Knight, Dallas
||‘Mile Marker’, Barbara Davis catalogue
||‘The Future can wait’, Catalogue
||‘Summer Show 2010′, Royal Academy Catalogue
||‘Fate and Freewill’, Contemporary Art Space, Catalogue, text by Martin Holman
‘Summer Show’, Royal Academy catalogue
‘Reconstructing the old house’, Catalogue, text by Dave Ryan
||‘Superstratum’, Catalogue, text by John Chilver
‘Singularity’, Catalogue, text by Martin Holman
||‘Happenstance’, Monograph, text by Martin Holman
||‘Miser & Now’, Summer issue, Quarterly magazine
||‘Rutherford’, Newlyn Art Gallery, Catalogue
‘Obstraction’, AR/ Contemporary, Catalogue
||‘New British Painting’, Catalogue
||‘The Bold and the Beautiful’, Catalogue
T.I.Group collection, Catalogue
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.
The writer Anthony Haden-Guest has contributed to the Financial Times weekend column on art collecting, Vanity Fair, The New Yorker, Paris Review, The New York Observer, Art Forum, Esquire UK .
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.
These 3D Grid Worlds Defy Space and Time
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.
by Hrag Vartanian on June 27, 2014
Clockwise from top left, a detail Armando Marino’s “The Young Artist” (2014), installation view, detail of “Crying Girl” (2014), and installation view. (all photos by the author for Hyperallergic)
If Armando Mariño’s earlier art looked at the outside world with a critical postcolonial eye, his recent paintings probe visceral states of being tinted by melancholy and framed by a directness that feels intimate. Seen through a frosty lens, the artist’s big paintings in his current show at 532 Gallery Thomas Jaeckel are largely centralized compositions that focus on a solitary figure or object turned away or obstructed from the viewer. The impact of his visual elision opens up the strongest work emotionally, leaving crumbs along the away to invite the viewer inside the work, where he shows off his technical prowess.
“The Young Artist” (2014) uses 19th-century German artist Casper David Friedrich‘s signature rückenfigur device (a person seen from behind, contemplating the view), to mark a sense of presence that is equally striking for its feeling of absence. The shadowy figure pops out of an impossible inner frame that directs our attention to a pinkish-hued winter scene blanketed with a deep sense of longing. Like many of the works here, the scene is specific without revealing an actual sense of place — it is a fairy tale world that at every turn begins “once upon a time.”
His “Crying Girl (2014) is equally enigmatic — veering into the realm of magic realism — as a young female figure cries in the branches of a tree that splays the composition every which way. The background of the painting is sprinkled with glowing orbs of color but the reason for her sobbing is unclear even if it feels easy to read into her life story. The barren tree seems to comfort her, but as the viewer we feel awkward about looking at her in pain.
Space is frequently conflated or telescoped in these paintings, which gives them a timeless quality. In “White Tree” (2014), Mariño places an icing-like white tree again warm reds, deep blacks, and accents of bright digital colors. The forms are rooted beyond the painting’s edge, which flattens the picture and lures us to the surface where fireflies of color and texture reveal a different, more abstractly formulated, composition.
But in a few works, namely “The Bride” (2014), the sense of space is too contorted and the subject feels too distant to create a connection with the viewer. His art is most successful when the tension between figure and ground is strangely unsettled, and his work calcifies when the boundaries are more distinct.
All the paintings in this show depict rural night scenes, which heighten their sense of solitude. In frames of darkness his painterly magic glows. I imagine Mariño himself is the figure in “The Young Artist,” looking away towards the two coniferous trees burdened by the weight of the snow. There is a sobering sense of relaxation in this work as we see the youthful artist, perhaps awestruck or curious, contemplating his place in the world. Unlike Casper David Friedrich, Mariño doesn’t offer glimpses of the sublime, preferring instead to focus on the manmade in these allegories, uncovered in the dark recesses of his studio, where time stands still and spring finally arrives.
Armando Mariño’s New Paintings After a Long Winter continues at 532 Gallery Thomas Jaeckel (532 West 25th Street, Chelsea, Manhattan) until June 27.
May 8 – June 27, 2014
532 Gallery Thomas Jaeckel is pleased to announce the second solo exhibition by contemporary Cuban artist Armando Mariño.
Composing a whimsical wintry mash up of abstract and figurative art to provide us all a rather philosophical light on the freedom of art, no matter what eye the perspective is derived from. “A work of art doesn’t have to be explained. If you do not have any feeling about this, I cannot explain it to you. If this doesn’t touch you, I have failed.” -Louise Bourgeois or perhaps more simply put, “Art for art’s sake” as best muttered by James McNeill Whistler, and as best served as Armando Mariño’s inspiration in his latest solo exhibition.
In the case of New Paintings After The Long Winter Mariño’s color moods range greatly, both portraying play on the exhibition’s title literally and figuratively. Gloomy colors with such depth within the strokes its almost impossible not to feel the arctic angst of Mariño’s artistic struggles. With that said, there are also many radiant colors that are rather jubilant, piercing through said New Paintings After The Long Winter like spring time. Mariño painted his pieces upon both large canvas and paper with oil paint, paper in his opinion allows him to dwell on the composition and subject more accurately. Paper gives him the opportunity to paint fast and keep up with the fast pace of his mind as he organizes colors and concepts.
His works are held in numerous public and private collections including: Deutsche Bank Collection, USA. 21C Museum Hotels, Kentucky. Coca Cola Foundation Spain. Shelly and Donald Rubin Private Collection, New York.
Armando Mariño (b. Santiago de Cuba) lives and works in New York.
Education: MFA Pedagogical Institute of Arts, Havana, Cuba and Rijksakademie of beeldende Kunsten, Amsterdam, Holland
Marino’s work is included in these current exhibitions:
Post Picasso-Contemporary Reactions, Museu Picasso, Barcelona, Spain
Without Masks: Contemporary Afro Cuban Art, The von Christierson Collection /Watch Hill Foundation
Museum of Anthropology, University of British Columbia, Canada