Archive for the ‘Shows’ Category
May 30 – June 29, 2013
A painter and draftsman by calling and choice, Gerard Ellis establishes an interesting dichotomy between the practice of painting and social critique. His pictorial work is highly expressive and vigorous for those who directly or indirectly participate in the multiple strata of the contexts of which this artist speaks. The violence, corruption and lack of willpower characteristic of our times are central topics of his meticulous pictorial work. There is a studied connection and interdependence between what is his work and what constitutes his life experiences, which translates into a certain underlying politicization of life’s experience. Self-referential and sometimes autobiographical, his dynamic yet intensely personal and authentic compositions serve on dual levels; not only are they effective in presenting the viewer with truncated iconoclastic narratives, but they also possess a strong visual vocabulary of technical styles.
Ellis competes in a direct relation to the animal, this time, no longer domestic (an owl, a cybor-dog, among others) with the man and are constant companions to the figures in the paintings. Equipped with a dramatic quality, the plastic movement of each one of the works speaks of speed and stillness, paralysis and aggression, being the diachronic dichotomy of the mental movement of the spectator.
Born in Santo Domingo, Dominican Republic in 1976, he graduated from the National School of Fine Arts and the Universidad Autónoma de Santo Domingo. Selected to be part of the “S-Files”, the 6th edition of the El Museo del Barrio Biennial in NY, 2011. Has been recognized with three awards of Excellence by The Society of News Design, 2007-2008. In 2007 was invited to be part of the IX edition of the Cuenca International Biennial, Ecuador. His work has been exhibited in group shows in the Nassau County Museum of Art, NY, The IDB Cultural Center and The Mexican Cultural Institute in Washington, D.C. Selected to be part of the National Biennial of Visual Arts and the XX edition of the E. León Jimenes Art Contest (Biennial), where he received the Prize for painting, both in the Dominican Republic. He participated in the “Sarmiento Public Art Project, 2007” in public areas of the city of Santo Domingo.
International contemporary art fairs include: VOLTA NY, Scope, Pinta and Arte BA. His work is in the permanent collection of the Museum of Latin American Art in Long Beach, CA; Fundación para la Pintura, Canaria, Spain; the Museum of Contemporary Drawing and the Museum of Modern Art in Santo Domingo; The Dominican Congress and in private collections in New York, London, Miami, Spain, Panamá, Venezuela, Puerto Rico and Santo Domingo.
June 10-15, 2013
We look forward to seeing you at Volta9 in Basel for the presentation of new works by Armando Marino and Nadja Marcin.
For additional information please contact the gallery.
Helsinki- Strasse 5
This exhibition features several recent paintings from Langsam’s long-running series of banded montages that set nearly monochromatic, tightly rendered views of iconic modernist buildings on top of a band of gridded abstract motifs inspired by classic modernist paintings and beneath ominously lit skies that invoke Romantic landscape painting. The skies are, in fact, loose renderings (rather than transcriptions) of skies from Hudson River landscape painting, but they also uncannily recall the pre-Romantic Baroque skies of Giovanni Lanfranco (1582-1647), who himself anticipated Goya in his St. Augustine cycle. This circuitous route of painterly iconography underscores Langsam’s own “passion” for painting and Modernism, where even Romanticism is revealed to be a construct with foundations appearing close to two centuries earlier than what is held to be its historical moment.
The three spaces in her paintings are thematically linked and illusionistically self-cancelling. The “landscape” is pure design, the “photographic” Corbusier or Neutra house refuses to be illuminated by either the pattern below or the ominous atmosphere above. Langsam has described this conflicted space as a “ ‘nowhere’ – which can only exist in the fiction/reality of painting.” For Langsam, this “nowhere” is symptomatic of our desire for unrealizable sublimities proposed by Modernist ideals. At the same time, she regards herself as just a susceptible to these same desires. A lapsing Modernist, Langsam trades a narrow purity for enriching irony, while refusing to relinquish an ambition for a formal beauty and movement. Painting, for Langsam is a visual site for negotiating with her faith and disappointment. Like a good nouveau realisme film, her paintings are funny, sad, and grand.
Above: Le Corbusier Landscape (Villa Stein)
Oil on canvas 72″x96″
February 21 – March 30, 2013
Tatjana Busch, “Fusion“ a synthesis of objects with light, sound, color and motion.
“It could be like this and it could also be like that…,” says Tatjana Busch. But not until we see her latest works in this exhibition, does her meaning become truly accessible. Conceptually, her earliest works appear even more tightly regulated by the obvious influences of the strict, geometric, coloured forms we know from the Bauhaus and Russian Suprematists. Their intuitive shapes continue to spring from Busch’s innermost world, just as they did years ago. Permeating her entire body, they are finally given material form in the outside world by her hands, seeming more carefully planned than they actually are. Her latest works, however, appear to break with any dependence whatsoever on art history. They free themselves even from the shackles of physics and burst forth into freedom and openness – a freedom and openness to which the observer must surrender himself if he is to appre- ciate the true dimensions of these works.
The light installation “Fusion” invites us to broaden our consciousness. It abducts us into a fully-fledged show that immerses the observer into a real-time synthesis of light, form, colour, sound and movement – a synthesis in which the observer loses himself, dissolving, then ultimately uniting with the artwork itself to create a common, new cos- mos.
Initially this bent, folded, silver-shining sculpture named “Fusion” consists merely of outer forms. But it also harbours an inner, hidden form, one that might be referred to as its “inner potential”. This reaches far beyond the visible. It is the energy, the attraction of this artwork, whose extended reach commands the space around it and seeks even to stretch beyond it. The extent of this becomes apparent through the movement of the rays of light that meet its sur- face and create dynamic light-paintings, light-clouds and light-worlds. As they do so, these rays consistently extend, modify and distort the sculpture’s external form. What had initially seemed so static and immutable is sounding out new frontiers all the time, revealing forms that flow and stream. The outer space suddenly consumes the observer, engulfing him to make him part of the artwork itself. The void is no longer a void. Everything hangs together, merges.
Although essentially two-dimensional, the “Goldbubble” and “Hushbubble” videos trick the observer into seeing three-dimensional, dancing, reflecting water worlds. Penetrated by magical clouds of energy, these are immersed in the meditative sound-worlds of composer and former Passport bass guitarist Wolfgang Schmid – worlds inhabited by light orbits and other light creati- ons before they sink into the depths of a planetary universe, worlds which at the same time echo the holistic notion to represent the depths of one’s own inner world.
And finally there are the Snapshots. Created from such kaleidoscopic movements, these still-life photographs of “Fu- sion”, “Goldbubble” and “Hushbubble” would have the observer believe that the ‘Now’ can be captured, that the eternal flow of time and spread of space can be halted.
But can they really? Could this be the way things are? Or could they equally well be different?
Our hopes for a conclusive answer to these questions will be in vain. With their claim to absolute freedom, these works categorically exclude any such possibility. After all, it is freedom that tells us things could be the way they are, but that they could equally well be different. The observer is left completely to his own devices.
Text: Kat Schütz, Sarasota
Translation: Melanie Gridlestone, Munich
Please join us for the Solo presentation of Armando Marino at VOLTA NY
“Marino is a romantic painter—his nature has the seductive abundance often found in traditional romantic landscape painting, as Tree of Life, 2012 makes clear—but he is an ironical romanticist, one might say a disappointed romanticist, as The Revolutionary, 2013 strongly suggests”
In 2011 Mariño was Artist in Residence at the Bronx Museum and recipient of the Pollock-Krasner Grant.
Recent Paintings by John A. Parks
through February 16, 2013
In his recent pictures, executed as finger paintings, John Parks explores the memories of his English childhood in a series of richly evocative images. “In a sense I’m using a childish means to recreate a child’s world,” says the artist, “although the resulting paintings are far more sophisticated than those of a child.” The lush surfaces, gloriously layered color and suggestive drawing work together to create a novel and intensely nostalgic vision. What is remembered are glimpses, sometimes idyllic and sometimes disturbing; cycling through a village on a summer’s day, playing hide-and-seek in a public park, the mayhem of an indoor swimming pool, the sudden formality of a Maypole dance. The limitation of painting with his fingers has forced Parks to simplify the descriptive tasks of the painting. “There is a certain indeterminacy with finger painting,” he says, “you are never exactly sure where an edge is going to go. Chance events occur that you can edit out or leave in. The process adds a richness and a very physical engagement with the paint. Accidents can often be suggestive – they prod the imagination and provide a sense of discovery. Every mark is truly an adventure.”
Also on view are three large-scale map paintings of London in which the artist manipulates space and point of view to provide a highly entertaining excursion through the streets of his native city. Presented from multiple viewpoints but lodged in a fairly accurate street plan, buildings, monuments, bridges and buses come alive in an unexpected and inventive fashion.
Educated at the Royal College of Art in London, Parks has made paintings over the last thirty years that have focused on themes of English life seen through expatriate eyes. The artist has lived for decades in New York and teaches at the School of Visual Arts. Throughout that time the artist’s work has evolved expressively and stylistically. His early and intense realist work was closely associated with the realist revival but carried with it from the start a lyrical and intensely personal quality. John Russell, writing in the New York Times, dubbed him “A true poet in paint and something of a find.” In the mid eighties and nineties Parks adopted a larger scale approach to paint images of public monuments in a series of paintings that explored the unease of national identity and its attendant rituals. These works included a highly irreverent series of English soldiers, often shown dancing or otherwise cavorting.
Parks has been represented by several major New York galleries including Allan Stone Gallery and Coe Kerr Gallery. His work is included in a number of museum collections including the Victoria and Albert Museum, in London and the Museum of the Rhode Island School of Design. This exhibition marks his debut with 532 Gallery Thomas Jaeckel.
For more images and information : http://johnaparks.com/NewWork
IAN HUGHES Solo presentation at UNTITLED curated by Omar Lopez-Chahoud
Monday Dec 3rd
VIP Private Preview & Vernissage
First Look 6-9pm
Proceeds from Paddle8 Auction to Benefit the Bass Musuem of Art
Dec 5-9, 2012 Located directly on the beach in the heart of South Beach at 12th Street and Ocean Drive.
Tuesday, Dec 4
VIP Preview First View 5:30-10pm
Bideodromo festival is screening //KIDS// at Museo de Reproducciones in Bilbao on Oct 24th.
“Kids” 13’18. Nadja Verena Marcin (USA)
Nadja Verena Marcin narrates through a conceptual revision of the cult film “Kids” (New York, 1995, Larry Clark) the interaction of a group of young adults; the smooth transition between shocking rituals and its adaption as lifestyle.
October 11 – November 7
532 Gallery Thomas Jaeckel is pleased to present the Solo exhibition in New York of Armando Mariño, entitled The Waste Land.
This solo show features new oil on canvas paintings and works on paper. The title of the show refers immediately to the T.S Eliot poem, but the paintings that Marino shows are far from an illustration of it. In these paintings the artist recognizes the poem as a background to his work. “It helped me put together all the paintings,” he said. “The style of the poem overall is marked by hundreds of allusions and quotations from other texts, like my paintings.”
If the subject of his previous show was the mass protests, revolution, and tumult of last year, the artist is now more focused on the contradiction and friction between spirituality and the chaotic world we live in. The imagery in his paintings come from different sources: two Tibetan monks, a holy man from India, and a Western landscape in autumn are some of the images that serve as material for the new show.
Marino employs photos taken from magazines, web sites or books, which he crops, edits and transforms to create a new narrative or history that matches his interests. The result are large-scale paintings, colorful and intense, classic and obscure; “highbrow” and “low-brow” layered ad infintum, so that the viewer has to look closely to discover it all.
Marino is one of the most prominent Cuban artists from his generation. He has exhibited extensively in museums and galleries in Europe and USA.
In 2010 Marino moved to New York from Madrid for one year as part of the ISCP Brooklyn. That year he also participated in the exhibition Queloides: Race and Racism in Cuban Contemporary Art at the Mattress Factory Museum Pittsburgh.
Between 2010 and 2012, his work drew the attention of several critics and curators in the U.S., prompting invitations to participate in several exhibitions, such as El Museo del Barrio’s Biennial (S) Files (2011) and Building Identities: Contemporary Cuban Art from the Shelley and Donald Rubin Private Collection, presented in the Cleveland Clinic’s Art Program of the Arts & Medicine Institute. In addition to an Artist’s Studio residency at the Bronx Museum of the Arts (2011-12), Marino was awarded a The Pollock Krasner Grant that year.
Marino’s work is held by many private and public collections, such as The Donald and Shelley Rubin Collection, the Deutsche Bank Collection U.S., The Berardo Collection Portugal, The Farber Collection U.S., The Netherland Bank Holland, the National Museum of Fine Art Cuba, and The Coca Cola Foundation Spain, among others. Marino’s first solo show in New York, Recent Paintings From the Year of the Protester, took place in the nonprofit space The 8 Floor, with the support of the Rubin Foundation and The Bronx Museum of the Arts. This show prompted invitations to participate in Project V at the Hudson Valley Contemporary Art Center in Peekskill in 2012/2013, and Skyline Adrift Cuban Art and Architecture at Art Omi in Ghent, New York (September 2012-spring 2013).
The Waste Land is Marino’s first solo gallery show in New York City.
The exhibit explores the early 80s, when Szczesny emerged as one of the protagonists of a young generation of bold figurative painters in the German-speaking world who came to be known as “Neue Wilde.” Contact the gallery for more information.
Modernism In The Service Of The Pleasure Principle: Stefan Szczesny’s Art by Donald Kuspit
Boldly self-conscious, and confrontational, in his two Self-Portraits of 1984 Stefan Szczesny presents himself as the classical Expressionist painter: passionate and rebellious, as the historian Douglas Kellner put it, a sort of transgressive Übermensch, as he adds, superior to the bourgeois “herd” by reason of his creativity, symbolized by the brush and palette he holds in one of the self-portraits. In that same self-portrait he is flanked by the sketch of a female nude and a more sedate female head, the former suggesting the body and the latter the soul of the Eternal Feminine, as Goethe called her, that “draws us on,” as he said at the end of Faust. The former is erotically romantic, her body there for the sexual asking, facing us in unashamed nakedness, the latter peculiarly remote and “classical,” a detached, insular profile, a woman with a mind of her own, unlike the odalisque, who seems all body and no mind. The contour of the odalisque’s young body is blue, the profile of the more mature woman is spotted with blue, but both are luminously white, suggesting they’re ghosts.
Indeed, they haunt Szczesny’s art, recurring with obsessive regularity, complementing each other, even oddly one: the eternal feminine, in all her indulgent nakedness, may be physically accessible, but she is emotionally inaccessible, strangely indifferent to the male artist’s penetrating gaze. She is, after all, eternal, that is, above it all, however seductively feminine and earthy her body may be. The point is made clear by the Blue Nude and Yellow Nude, both also painted in 1984—wonderful tributes, not to say idealizing homages to the Fauvist nudes of Matisse and the Brücke nudes of Kirchner. The blue nude is turned away from us, the yellow nude faces us, but she looks downward, with a kind of contemplative melancholy. Both seem unaware of the artist’s presence, although he’s clearly present in the Blue Nude.
Szczesny is excited by their bodies, as the flurry of painterly activity around them—dramatically black, with the yellow nude framed by an amorphous blur of passionate red—strongly suggests, but they couldn’t care less. He looks intensely at her in the Blue Nude, an intensity which spills over into the painterliness, but she turns away, and the contours of her body are intact, suggesting that she’s self-contained and impenetrable, making her mysterious for all the vividness of her flesh. The feminist historian Carol Duncan famously argued that the paintbrush was a surrogate phallus, but however powerful the expressionist painter’s handling it was unable to penetrate the female subject’s naked body, spilling its painterly seed over it in a futile attempt at intercourse. Duncan’s interpretation is somewhat extreme, but the point remains: the expressionist painter “manhandles” the female model’s body all he wishes, but his wish is never consummated, reminding us that expressionist paintings of the female nude are dreams, that is, surrogate wish fulfillments, as Freud said a dream is.
Let us recall that Faust sold his soul to the devil for sex—and his mind, for he was a great scholar and intellectual—but in the end was saved by a heavenly chorus. He wanted wealth and power, and finally married Venus, and had a family with her, but none of it gave him lasting pleasure. Nonetheless, his “striving” saved him, especially when it led him to reclaim land from the sea in the Netherlands, sublimating his instincts and thus recovering his reason. Striving is self-evident in Szczeny’s paintings—rational striving for aesthetic fulfillment, not just irrational striving for sexual fulfillment. Szczesny’s art may be erotomanic, but it also shows a great deal of aesthetic intelligence. His bust of a female nude epitomizes his obsession with woman in all her perverse majesty, but it is also an artistic tour de force, a pure work of art epitomizing modernist ideas about art. It may celebrate woman, but in the end more importantly it successfully brings together two basic strands of modernism: the emphasis on the medium for its own material sake, as Clement Greenberg put it, and the attempt to articulate what Kandinsky called the “dissonance” and “discontinuity” of modern life, involving the seemingly insurmountable conflict between the material and spiritual, in the “dynamic equilibrium”—ironic harmony?–of a “new (visual) music.” The bust is a consummate, masterly realization of these two goals.
The vivid colors—the familiar red and black–with their vigorous handling, clash and contrast, adding an expressionistic surface to the classical bust, seemingly made of pure white light, but they also bizarrely harmonize, as they do in an all-over painting. There may be reckless abandon in the painterliness, but the extravagant gestures, seemingly straight from the unconscious, form a self-conscious whole. The seemingly uncontrollable, “wild” gestures—reminding us that Szczesny was one of the major painters in the German Neue Wilden movement that emerged into international prominence with the “New Spirit of Painting” exhibition held in Berlin and London in 1981—are in fact under complete aesthetic control. The colorful surface is in effect a pure painting—painting for the sake of painting, aesthetically refining raw pigment, giving it what the materialistic Greenberg himself called “unconscious and preconscious” meaning, borrowing the terms from the topographical model of the psyche that Freud described in The Interpretation of Dreams. Similarly, Szczesny integrates two-dimensional painting and three-dimensional sculpture, making for a kind of Gesamtkunstwerk. Dynamic painting is in effect three-dimensionalized, adding to the projective power of the color, and static sculpture two-dimensionalized into a canvas that becomes a kind of cornucopia of color. Szczesny’s painted sculptures are aesthetically profound, for they reconcile the opposites by emphasizing their opposition.
The bust is a kind of dialectical masterpiece. Once Szezesny abandons the equivocally eternal feminine, and turns to the even more equivocal—relentlessly contradictory—modern world, as he does in a number of urbanscapes, he comes into his dialectical own. In Noratlas, 1980 a diagonal cuts across fragments of urban space, reminding us, as Theodor Adorno emphasized, that modern art is a sum of fragments rather than a preconceived whole, like the modern world and unlike traditional art. The work evokes Malevich’s Aerodynamic Suprematism—the first phase of Suprematism–thus taking us back to the abstract beginnings of modern art and its fascination with modern technology. The two airplane fragments seem to have a direct predecessor in Gorky’s 1937 design for a mural—now painted over–at Newark airport. The black diagonal cutting through an untitled urbanscape conveys the dynamics of the city and the jumble of fragmentary building facades its unsettling energy—an energy evident everywhere in Szczesny’s art. It is concentrated in the objects in his wonderful still lives. Shedding the eternal feminine, Szczesny comes into his masculine own: his objects have a geometrical sturdiness, solidity, and solemnity—the objects in one still life allude to Cézanne’s idea that painters should “treat nature by the cylinder, the sphere, the cone” (in effect eternalizing nature)–that his curvaceous, exciting females lack, perhaps because they are the objects of desire rather than objects that have what the psychoanalyst Donald Winnicott called the indisputable separateness of reality.
Szczesny’s David, 1984, a deceptively simple portrait—certainly less busy, or at least more restrained and straightforward than many of Szczesny’s works–of his young son, crouching with his hands on his knees, is another “objective” masterpiece, as the eternalizing geometry of his body—his triangular torso, flanked by curved buttocks—makes clear. Abstraction and representation ingeniously converge, even as they remain at odds, making the figure uncanny. Szezesny “argues” for their inseparability–the aesthetic necessity of both—but the tension between them is excruciating, suggesting their inherent difference. Their simultaneity confirms their estrangement even as it unites them. Apollinaire famously said that “the simultaneity of colors through simultaneous contrasts and through all the quantities that emanate from the colors, in accordance with the way they are expressed in the movement represented…is the only reality one can construct through painting,” but Szczesny shows that this is not exclusively so. The simultaneity of colors can also be used to “construct” human reality, however autonomous and “self-serving” they remain: quantity can become quality. David’s confrontational pose and intense wide-eyed stare–set in a face that harks back to the mask-like “primitivized” faces in Matisse’s portraits of his son—suggest that he’s a Neue Wilden in the making.
The conflict between the blue and red suggests his inner conflict: the dialectic of his being is unresolved. Primary colors are always at odds, however reconcilable in complementary colors, but there are no complementary colors in Szczesny’s painting, making it even more starkly expressive. It brings to mind Kirchner’s Seated Girl, 1910—she’s as defiant as David–but it has orange, yellow, and green it, compromising the strong red and blue planes. They are uncompromisingly in-your-face in Szczesny’s portrait. They are more dramatically insistent than in any expressionist portrait. Once again blue represents reason, red represents instinct, which are perennially at odds, but they make powerful aesthetic and emotional music together in Szczesny’s masterpiece.
July 11, 2012- July 26, 2012
Reception: July 10, 6:00 pm – 8:00 pm
Hilary Doyle, Anthony Giannini, Rachel Klinghoffer, Francisco Moreno, Kimo Nelson, Arthur Pena, Michelle Rawlings, Astrid Toha, Page Whitmore, Bruce Wilhelm
RISD MFA Painting 2012 … It is often said that the brightest stars are not stars at all, but planets. In this exhibition we present 10 rising stars whose bright light and way-out orbit challenge easy categorization. The paintings of HILARY DOYLE make a world most fluid where there is much fact and little friction … but wait! … we can hear that little rhyme that kids say as they pull the petals off a daisy one by one. There stirs here in its early days a new imagined world never before seen and a new way to paint it. We see before us -Trompe Doyle! Characteristic of the most recent paintings of ANTHONY GIANNINI is a great press forward like the surge of a crowd toward the stage. The noise and the urgency are inescapable. These works can be maverick or can define forward-looking for us all – or do both. RACHEL KLINGHOFFER paintings like the flying buttresses outside the walls of the Temple of Earthly Delights create a space for elegance and lift. As they serve the beauty inside and can themselves be frightening, these paintings separate blossom from bloom, bosom from boom. Between the territory of Outside-looking-in and Inside-looking-out FRANCISCO MORENO travels so easily as to be more or less borderless. An observer whose strategic acquiescence and stubborn resistance crossover in collaborative self-definition…significantly Francisco collaborates with Moreno. The only paintings that could lower sea levels and restore the polar ice caps are here in the work of KIMO NELSON. Not because of ‘cool’ though they bring that, but because they are a most hopeful map of possibilities. Nelson is a chaos-tician studying complex systems. Vexingly chimerical, but wonderfully alchemical, one could say that ART PEÑA’s paintings have an Ionic soul in a Doric body. Like fulgurites (ZAP!) he presents mysterious compounds from outer space made of familiar elements in unknown proportions. Familiar elements in unknown proportions propel LAUREN MICHELLE RAWLINGS protean and quixotic adventures in self-portraiture. Subject and object switch roles back and forth in self or any portraiture making them necessarily motion pictures. So it is with Rawlings’ mercurial installation. Our Bard said the Land of Milk and Honey has become the land of money. PAGE WHITMORE sees this as an historian of the Future and her paintings move from the quotidian to an imagined world ahead where deception is employed with both humor and critical consequence. BRUCE WILHELM can be called a Master of Disguise, but only if properly seen as all “Master”, much “guise”, and no “Dis”. His studio is a research lab producing more tower than tunnel. That is, we don’t dig deep in critique, we build up high for vista. Channeling and funneling light ASTRID TOHA works with light’s leaking fluidity to create a kind of visual glissando in her resplendent prints and projections … And … Yes, dear, you will be in her headlights! – Dennis Congdon
June 8 – July 3, 2012
532 Gallery Thomas Jaeckel is pleased to announce an exhibition of paintings by Kasia Domanska. This is her first solo exhibition in New York.
„I look out on a summer’s day, a beach where we can daydream freely, where we look at the sky and we notice more than we do in everyday life. Everything seems easy, light and pleasant. We contemplate.“
The Artists’ works speak of the affirmation of life and it’s fleeting beauty: the sunshine, sparkling bright light bringing out the color intensity, suggesting thoughts of the eternal but often forgotten union between man and nature.
With fairy-tale like colors contrasting and blending into one another, the artist creates a work of purity and balance which does not give rise to worry or confusion, but peace and calm. The compositions give us moments of silence and stillness while transforming her pictures into living forms, pulsating with vital energy, life-giving, like a salty summer breeze, the sound of waves crushing on to the beach, a place where everything is go with the flow, forgetting schedules, rushing and stress, uniquely capturing reality at its most fleeting and temporary. The force and the power in her work is the light, it plays a decisive role in the theme as do the mood and balanced composition. It is brightness, joy, day and life, creating an idyllic climate.
The affirmation of nature and life becomes the background for a symbolic celebration of emotions, moods and reflections. Behind the literal meaning there is another, hidden meaning, which the artist allows to speak freely. Her paintings are testaments to a passion for beauty in all its forms, from the sublime to the everyday. Get ready for an endless summer.
APRIL 26 – MAY 26, 2012
Gallery 532 Thomas Jaeckel is pleased to present the paintings of Ian Hughes in his second one-man show at the gallery.
In this new body of work, Hughes brings to full fruition the investigation of color, space, and form that has been underway for nearly two decades. The new paintings continue to probe an artistic vein that runs from the eye to the brain and terminates in the viscera. The color field is repurposed as a visual staging area upon which organic forms, vascular and sinuous, shape-shift and commingle. The luminous color space of the background is simultaneously flat and volumetric, like a cloudless sky; it is a resolutely abstract space that asserts the two dimensional nature of painting and creates a dynamic contrast to the illusion of volume in the foreground.
In two related works, Yellow Curtain and Strands (Pink Curtain), the background color acts like a light box, illuminating the transparent forms from behind, analogous to an x-ray image. The reference to curtains has multiple meanings, most literally to the vertical strands hanging from the top and arranged across the picture plane like a beaded curtain (though admittedly, maybe more like flayed meat hanging on a drying rack.) But the transparency of the forms also suggests a diaphanous veil through which the viewer must pass to reach the other side, where lies another world–the world of metaphor and myth. Art historical references also abound, perhaps most poignantly to Morris Louis, whose name Hughes readily invokes as a source of inspiration.
Hughes’ technique is deceptively straightforward. Water is the medium; pigment dispersions and acrylic polymer yield color and form. Together they are poured, floated, and brushed onto the prepared surface; the dance between intent and accident, consciousness and unconsciousness, is set into motion. For Hughes, technique is purely a means to an end. Most important is the degree to which the technique serves the desire to create a state of visual and interpretive flux.
In this endeavor, Hughes aligns himself squarely within the tradition of painters like Paul Klee and Wassily Kandinsky, whose groundbreaking ideas gave rise to a main branch of contemporary American abstraction which espouses the possibility of conveying the full range of human experience through the raw materials of paint and renders moot the distinction between abstraction and figuration.
Please contact the gallery for further information.
Per Adolfsen, Tatjana Busch, Christiane Draffehn, Kristina Girke, Armando Marino, Nadja Marcin, John Alexander Parks, Stefan Szczesny.
Spring has arrived—at last—and with it comes an exciting group show of gallery artists at 532 Gallery Thomas Jaeckel. The exhibit focuses on what might be, rather than what is, in a Surrealist-inspired showing of paintings, photographs, and sculpture. John Alexander Parks, an English painter, takes us to London in a freely painted street scene that distorts space and makes the viewer wonder where he or she is standing. Nadja Marcin, presents a large-scale photograph that ere-defines the word “pastoral” in a somewhat frightening way. Christiane Draffehn mixes visual metaphors–earthly, heavenly, and hellish. She has created an image that is reminiscent of the work of Magritte, or even Dali. Tatjana Busch, an abstract sculptor from Germany, combines aluminum, photographic imagery, and sound, displacing our sense of what sculpture is, and leading us to new ideas about what sculptural space can become. Kristina Girke combines academic drawing with startling ranges of color, transporting viewers from their comfortable notions of what painting is, to a broader, more inclusive view of where the brush can go. Several other international artists are represented in this show. Each one brings us closer to fresh ideas about art. Ideas fresh as spring.
Per Adolfsen, Anna Borowy, Peggy Bates, Joergen Geerds, Ian Hughes, Nadja Marcin, Armando Marino, John A. Parks,Tanja Selzer.
January 26 – March 3, 2012
Through five panoramic photographs, artist Joergen Geerds explores the interconnections of space and community, humans and habitats, inside and out, self and other.
Start anywhere and you’ll quickly slip into Geerds-vision: Central Park is a space for enjoying grass and trees, inviting the warmth of the wilderness into the heart of the city. But the other side of the Park is its persistent emptiness (it is literally a hole in a field of skyscrapers), signalled here by a field of snow. This Park is not a lonely place, but very much an outside that has been invited in—a vampire of sorts, both awing and terrifying.
Astoria’s other side is its past: Here, a working class neighborhood was transformed into New York’s most diverse, becoming an anchor point in Robert Moses’s plan to transform the city. Geerds has lived in Astoria for many years; it cannot hide from him. In his image of historical Astoria, he catches an older building in the act of growing an enchanted hedge around itself—protection against a change that is inevitable, already creeping into the frame.
The Astoria pool, emptied of humans, also betrays its other side: It is an outdoor space, even when it’s treated as a private room. It is an outdoor space, yet it feels like an aqueous family den walled in by two bridges and the New York skyline. The pool, like the Park, is not lonely, but re-exteriorized… The sushi restaurant at the Esplanade, just south of the World Trade Center site in Battery Park, hints at a warm interior—only to have this warmth dragged out, in neon, into the empty street… The East River Park is caged by the installation above, but brought back outdoors by the fact it’s used only as a dog-run…
Geerds highlights here not a dissociating modern city, but its underlying structures and spaces, which—temporarily scrubbed free of people by the power of the camera—allow for unity, for community. Geerds’s alchemy shows us that the city is not so much a succession of insides and outsides as it is a plastic network of other sides.
In this critique of city spaces, Geerds’s photography recalls the maximal, place-focused interrogation of industry practiced by Allan Sekula and Noël Burch in The Forgotten Space. But—odd for a New York artist—Geerds does not bring a politics of exchange into his work.
If anything, he empties New York of its value as a site of exchange. He flattens the New York of capital (snowy parks, busy restaurants, bright streets) with the New York of snow and streets.
This attention to the elemental is what makes Geerds’s images so arresting: Are these photographs dark comments on a New York underneath, around, and above us all the time, hiding from us, shaping our lives?
Or are they agnostic, or even stoic works—intended to ask us questions about our city, yes, but also intended to question the spaces themselves, to bring them, in answering, into concert with one another, in the not-quite-dark of the long-exposure night?
Regardless of how we interpret or are questioned by Geerds’s many-sided New York, we can’t help but look at it, and look again.Text by Wythe Marschall
December 9 – January 21, 2012
532 Gallery Thomas Jaeckel is pleased to present four new works by Birthe Blauth, in her first solo show in the US.
Plato likens the restricted nature of human perception and recognition to being in a cave. Humans are trapped, chained down, and see nothing but the shadows of the outside world projected onto the walls of rock by the fire behind them. We are prisoners of our own neurological and biological structures, but also of our cultural and biographic backgrounds. We are unable to perceive the “real” world. We have no way of doing so. But still we strive to see beyond the limits of our own mental caves.
Birthe Blauth’s conceptual video works and installations explore the conflict between the individual stands and his limitations. Her interest is divided equally between two areas. On the one hand, she focuses on subjective perception. On the other, she explores the subjective thinking and effort individuals undertake to relate themselves to their surroundings. Her precise, pared-down works appear simple at first. But as soon as the observer takes the time to open up to them, their complexity and effectiveness unfold. Her works are meditative and “unhurried”. Her approach to time is more at home in the cultures of the Far East. Often, the boundaries between fiction and reality, between art and the observer, between art and non-art become dissolved.
M.A. and doctorate in Chinese Studies, Ethnology and European Art History at Ludwig-
Maximilians-University, Munich. Specialist area: iconology, mythology, religious anthropology
Lives and works in Munich.
WORKS IN PUBLIC COLLECTIONS AND BUILDINGS
2011 Kunstmuseum Bonn/Germany
2011 Johanneshouse Saarbrücken/Germany, acquisition of the archbishopric Trier
PRIZES AND AWARDS
2011 City of Munich, studio sponsorship
2011 Winner of the competition of the archbishopric Trier about the best art concept for the lobby Johanneshouse in Saarbrücken.
2011 Bavarian Studio Sponsorship
2010 BundesGEDOK Kunstpreis, Dr. Theobald Simon Preis
2010 International Studio & Curatorial Program (ISCP), New York
2010 City of Munich, extra studio sponsorship
2010 Galerie Bezirk Oberbayern, catalogue sponsorship
2009 Prinzregent-Luitpold-Foundation, Munich, project sponsorship
2005 Rotbuchen Award, second prize
2005 Andreas Art Award
2004 HausderKunstAward, Munich
November 30 – December 4, 2011
October 20 – November 26, 2011
Presenting new acrylic paintings on canvas by abstract artist Peggy Bates in an exhibition entitled Channels inspired by the artist’s recent observations of light and color in California’s Channel Islands. Although Bates’ experiences with the landscape and seascape in her frequent travels inspire her work, her oeuvre is not landscape painting per se. They seem to be painted from a different angle than traditional landscapes. Looking at her work is like experiencing the land and the sea from the sky, with the horizon outside of one’s point of view. Bates encourages viewers to look, not for the facts of landscape, but for a remembered sense of air, land and water. What we see in Channels is carefully constructed, non-objective painting based on memory of ocean and land. Bates revisits her memories by creating a robust iconography that has a charmingly lyrical feel to it. Vivid hues of poured blues, greens, and oranges contrast and interact with pale blue, lavender or grey grounds. In Bates’ work, the active synthesis of hard-edged shapes and pale, flat grounds is uncommon. This is not simple figure-ground painting, and the fields in the paintings are never static. Following Bates’ colors on their journeys through imagined space is a joyful experience. As our eyes wander about in one of her paintings, we become aware of the breadth and depth of Bates’ vision, and of her bold attempt at designing a new, non-art-historical, abstract painting.
September 8 – October 15, 2011
Anna Borowy’s motifs are primarily human characters and moments, depicted portrait-style and manifesting particular events. The reduced appliance of outlines and forms connects the figures with the backgrounds and accompanied diaphane images of animals. The apparent youth and grace of the portrayed are distorted by flawed structures and sinister traits.
Technically remarkable is the soft, silhouette-like application of color. Though appearing like water colors, the applied paint is oil-based with a special consistency allowing the blending with water. The base white coat of the painting is not being colored completely by the artist but serves as a continuous bright background on which the paint is thoroughly arranged. Thus the figures of the paintings appear partly overexposed, corresponding to the overlapping of several transparent image elements. Since the resulting point of view, i.e. transparency normally can only be achieved by alternating perspectives, the effect in Anna Borowy’s paintings is one of particular dynamic. This way her works fulfill not only a spacial but also a temporal perspective.
Through the limited use of paint the white background is being conserved as a structure or matrix for content, causing lightness on the one hand expressing emptiness on the other. Emphasis on the later skillfully highlights and complements the manifested motifs and forms.
Repeatedly Anna Borowy joins animals with the human protagonists in her paintings. The expression of this fauna ranges from symbolic meaning to common gestures, but either way the affinity to humans is very imminent and perceivable. Humans and animals are not shown as counterparts, but as reciprocal allegories and impressions without their identities being merged Ovidian-style.
It is not easy nowadays to phrase legitimately a primarily positive aesthetic attraction. But Anna Borowy’s works succeed in generating genuine beauty and are capable of deriving from this constituent any other inanimate facet.
Tanja Selzer draws her motifs from the daily media-related flood of images as components of human sceneries, figures in wild natural scenes or single persons and animals in front of or inside a natural background. She changes these images by composition, shift of colour and an ease of paint application, so they appear in the guise of a pretended, mostly idyllic scene.
In the works of the series Gib mir dein Rot (Give me your red) Selzer additionally emphasizes the dynamics of her nature-bound protagonists and scenes to the point of fight-like confrontations and compositions. The idyllic backgrounds remain perceptible as bearings for the image as a whole but are not only contrasted by the drastic actions in the foreground but also are stirred up and involved in it. The alternating depiction of humans and animals also their interactions are an expression of their mirror-symmetric anima. Selzer stages this without psychological abstractions but with the genuine intensity of a direct line to the source of fables.
June 28 – July 16, 2011 Summer hours: Tue – Fri 11- 6 pm, or by appointment
532 Gallery Thomas Jaeckel is showing a special Farewell exhibit for a dear friend and artist. His artworks brings together photography and painting on the same canvas, stimulating the eyes of the viewer and inviting to virtually “dive” into the pictures, going places around the world.
Thietmar Bachmann, was born in Coburg, Germany. His artistic interest focused first on painting, working both in oil and watercolor, as well as on etching, expanding to photography later on. Some of his work has been shown at the Federal Photography exhibit in 1983.
During the day Mr. Bachmann served as the Head of the Cultural Department of the German Consulate New York for the last three years, currently he is getting ready for a new posting in Europe.
Transatlantic Climate Change II, Oil on canvas 12×16 in.