Lifeline as Medium: Recent Works by Arghavan Khosravi and Cecilia Charlton

 
Lifeline as Medium: Recent Works by Arghavan Khosravi and Cecilia Charlton 

October 18 – November 13, 2018

 
In Lifeline as Medium, Thomas Jaeckel Gallery showcases two bodies of recent work from Iranian-born painter Arghavan Khosravi and American artist Cecilia Charlton. Both artists’ creations convey a strong sense of the ancient in dialogue with the contemporary; each uses an inventive combination of diverse mediums, both traditional and modern; and both work with compelling imagery that demands the viewer’s participation to reveal hidden meanings and elusive narratives that are only hinted at by surface appearances. The works on display are the product of two lives lived under the influence of a vast and varied range of past experiences, as well as a strong commitment to discovering a new life for traditional art and craft processes within the realm of contemporary art. A dual portrait emerges of two artists striving — each in her own unique way — to make us question where we’ve been and where we’re going.

Carlos Rodriguez Cardenas: Geographical Mind in the Architecture of Landscape

                                                                                                                                                   
Carlos Rodríguez Cárdenas

Geographical Mind in the Architecture of Landscape 

September 13 – October 13, 2018

Jaeckel Gallery is pleased to present Geographical Mind in the Architecture of Landscape, an exhibition of recent works by Carlos Rodríguez Cárdenas. In his native Cuba during the 1980s, Carlos Rodríguez Cárdenas developed an influential style of painting that deployed irony, sly humor, and a shrewd parody of High-Modernist sophistication to mock the conceits of official state-sponsored imagery and utopian sloganeering. In Geographical Mind in the Architecture of Landscape Cárdenas turns a discerning eye toward the United States, delivering a body of work that seems at first glance like a love letter to the American landscape and to the modern city—New York being his adopted home of many years now—yet gradually reveals an undercurrent of wariness and disquiet about our national myths and pretensions. Alongside this is an extended meditation on his own migrations, and on the endless tension between the fundamental human desire for stability and the inevitability of flux in our lives.

References to monumental constructions, modern technology, and utopian aspirations have always been a cornerstone of Cárdenas’s visual language. In these works, he uses such imagery to powerful effect, juxtaposing bold, semi-abstracted renditions of cityscapes and sea vessels with picturesque antique views of landmark buildings and collaged insets from maps of the U.S. and other countries; the combination evokes the grand narratives of progress and power that have always informed this country’s collective self-image, yet also makes these stories seem quaint, or even wistfully naive. The centerpiece of the show (The Journey, 2007-2018) is a frieze-like row of paintings with a squarely frontal view of tiny stylized skyscrapers and ships perched atop a massive wall of gargantuan bricks and gloomily featureless towers. The effect is something like the monotonous terrain of an old-school side-scrolling video game, suggesting perpetual travel with neither rest nor peace. Yet the varied light-blue shades of the bricks suggest expanses of open sky and sea, hinting at the possibility of freedom and escape from the strictures of law and dogma. The Bunker (2015) hints at similar notions via a pentaptych depicting a gargantuan seaborne ark/metropolis, while Geographical Mind  (2018) combines a clock face, compass points, and small circular insets from road maps of the U.S., Cuba, and Mexico, referencing the age-old human drive to dominate nature’s unruliness (and our own) with artificially imposed systems and structures.

Cárdenas understands classic visual metaphors for our cities and landscapes well, and he quotes them to great effect. His minimal, stylized buildings are strongly reminiscent of works by other artists we associate with New York in its modernist heyday, ranging from the Precisionist Charles Sheeler and Charles Demuth to Georgia O’Keefe and even Joseph Cornell. Small rectangular patches in the diptych American Landscape (2015) recall the vast, clear skies in Ed Ruscha’s Hollywood and Standard Station paintings and the grand-scale mythologizing of the American landscape of the Hudson River School painters. The evocation of these great Modernist chroniclers of the American myth adds a poignant twinge to Cárdenas’s status as the perpetual outsider looking in.

His works are included in such major collections as the Whitney Museum of American Art in New York; the Museum of Fine Arts in Boston; the Museum of Art in Fort Lauderdale, Florida; the Museum Ludwig in CologneGermany; and Museo Nacional de Bellas Artes de La Habana in Havana.

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

Group Show – Hell’s Kitchen

 
JULY 16 – OCTOBER 16, 2018
HELL’S KITCHEN 

Diana Copperwhite, Ian Hughes, Danny Rolph, Gustavo Acosta, Jose Vincench, Rime

In her paintings, Diana Copperwhite plays with rich layers of light and color in a conceptual exploration of memory and abstraction. She creates a new fluid visual quality of dreamlike and transitory images.

Danny Rolph’s compositions construct their grammar of signs through material engagement and unprincipled investigations into the history of the ‘pictorial’.

Gustavo Acosta creates intensely hued portrayals of urban and natural landscapes, with rectilinear overlays of colors that integrate allusions to the ideal planned-city street grid, sharp-edged Bauhaus aesthetic, and small flashes of vitality and inspiration.

Ian Hughes’s canvases engage in a game of illusions and naturalistic forms shape-shifting on top of a flat color-space, searching for a linkage between brain and viscera, forming a kind of connective tissue with the viewer.

Jose Vincench uses the most socially valuable and significant of materials to make expressive assertions, as an abstract artist and autonomous individual in subliminal defiance of a materialistic society.

RIME finds himself engaged in a performative process — his energetic movements comprise traces of the iconographic, cartoon-styled figures, ribbons of color and light filter, flawless brushtrokes.

Biographies of the artists can be found at the gallery website. The exhibition opens July 16 and will be on view through October 16, 2018 . For more information, please contact the gallery at info@532gallery.com or visit www.532gallery.com

 

 

 

 

 

 

                            

Station Museum Examines Asian American Identity in Latest Exhibition

Station Museum Examines Asian American Identity in Latest Exhibition

…and still we banter with the Devil, 2017, oil, silk, acrylic, antique 24k gold leaf obi thread, 19th century American cotton on canvas, 72″ x 96″

Lien Truong calls her recent works “a frenetic amalgamation of western and Asian painting techniques and philosophies.” The artist’s choice of materials—oils, silk, thread, cotton, acrylics, and antique 24k gold-leaf obi thread—create an absorbing cacophony of culture and honed skills. The series “Mutiny in the Garden,” in particular, take on varying and converging histories.

“The act of manipulating pigment over a support instantaneously embraces centuries of historical drawing and painting, art made integral with religious principles and cultural ideologies,” the artist says, in a statement. “I am at once undeniably seduced by the sensation and process of pushing material over a surface and at the same time curiously fixated on the present-day relevance and discoveries of these primordial acts. For me, the advancement of art and culture are parallel. Creating art becomes an illuminating act, one undertaken to understand contemporary doctrines by the study of evolving sentiments.”

Susana Guerrero: MACC – FIRST EDITION OF PROJECTS

Susana Guerrero:
PULLS AND RETURNS. 

The MACC exhibits the projects for its first four monumental works, which will be traveling along the Camino de Santiago.

 Impulses and returns is a sculptural project linked to works that Susana Guerrero has been doing in recent years, which display relationships between autopsies, anatomies, deities and classical myths, traditions and popular superstitions.

Susana3 Proyectos Macc
Sculpture in iron and marble measuring 350 x 500 x 1600 cm.

DANNY ROLPH: “WCW”

Danny Rolph
WCW
May 10 – June 21, 2018

 

PRESS RELEASE

532 Gallery is pleased to announce WCW, an exhibition of new paintings by London-based artist Danny Rolph.  This is the artist’s second solo show with the gallery.

Rolph’s exhibition of a new body of work made over the last year showcases the artist’s signature Triplewall paintings.  A continuation of his visually impactful paintings, these new works reflect his evolving exploration of high velocity color and layered narratives.  The compositional potential of his painting strategies on Triplewall plastic allow the viewer’s senses to be fully engaged. The paintings are layered and emotive, combining paint, drawings and collage with art historical and Pop Art references.

In the “WCW” painting, there are heraldic motifs and the drawing of a cowboy hat near the top.  Two large floaty irregular cylindrical “shapes”, one outlined and one purple and white, billow across the surface like curtains.  Across the bottom there is a design-like twisted shape in the middle in purple/gray.  Along the bottom two larger areas of yellow bracket a pink rectangle that hangs on bronze strings like a banner without a name.  The composition regains a sort of architectural order with turquoise and pink lines near the center of the painting.  There are many fragments of colors and lens like shapes throughout the painting. 

The exhibition’s title WCW is in homage to the American Modernist poet William Carlos Williams whose work the artist has long admired and is evident in the titles chosen such as “red wheelbarrow”.  The poet’s friend, Kenneth Burke, said that poetry is “equipment for living, a necessary guide amid the bewilderments of life”.  Rolph’s new paintings are built around and above model airplane instructions that work as a backdrop for his sharp, delicate, painterly and emotive compositions.  The idea of creating and exploration is thus embedded in the background, and serves as a metaphor for the artist’s studio. 

Looping painted lines of color, purple, teal and blue among them, float above as navigational devices.  Prints, watercolors and drawings jostle for attention around all of Rolph’s compositions.  The work throughout the exhibition is a visual equivalent of a poem.

Rolph has an MA in painting from the Royal College of Art, London and was the Rome Scholarship at the British School at Rome. His recent solo exhibitions include ‘Painted on the sky’, Barbara Davis Gallery, Houston; ‘Recollection’, 532 Gallery; ‘Atelier’, E.S.A.D. Valence, France; ‘kissing balloons in the jungle’, Poppy Sebire gallery, London; ‘ten minutes from now’, Eden Rock Gallery, St.Barths.  His work is represented in many international collections including the Metropolitan Museum of Art, New York and the Tate Gallery, London.

For more information, please contact the gallery at info@532gallery.com

                                       

Rime | Code

RIME: CODE

April 5 – May 6, 2018

532 Gallery is pleased to announce CODE, an exhibition of new paintings by RIME.  

RIME’s studio work has frequently stripped out, isolated, reworked, and repositioned component features of his most elaborate graffiti pieces.  His large bodily gestures of swooping letter serifs become expertly painted in studio, not street, media.  The cartoon heraldic b-boys, mugs, and pinups guide the eye or float in giant fight clouds.  The new works in CODE deconstruct the cartoonish figures to hints of them: a chin, an ear, a nose.  The contour of furrowed foreheads implying consternation or surprise, a finger or two giving direction.  A leg, a breast, a bum.  A flowing hairstyle.  They dance together to implied music. In something of a RIME tradition, where one or two eyes won’t do, an even-numbered row of eyeballs lines up.  They might be breasts, too – this could go either way.  The deconstructed figures bear at times deconstructed apparel and accessories: jewelry – the classic gold rope chain – and the suggestion of a Kangol or Borsalino hat.  And RIME’s own body appears as well, reflected in the swooping gestures both as serigraph-flat arcs and painterly brushstrokes.

RIME had always been pro-organic, anti-artificial, in his work.  You could see it in the graffiti: the sacred radius of the swing of the arm, the full dip in the knees and waist to a crouch.  The ratio of the body to the work is absolutely essential in graffiti: it’s how the human meets the inanimate wall and scales itself to it.  Never to measure, never to tape off, instead to use the sacred geometry of the body, of the confidence of style, of the moment, to divine proportions.  But in a recent DMT experience RIME encountered a sense of how technologically coded our minds and existence are.  He experienced what felt like an artificial, full color, three-dimensional program.  He reconsidered the notion that this life, the universe, and consciousness was of organic origin.  He felt the ones and zeros, the perfection of right angles, the grid structure undergirding the cosmos, and he began to work with what he had once closed off.  The new works in CODE reflect this experience. 

RIME was born in 1979 and grew up in Brooklyn, Staten Island and New Jersey.  By the mid-1990s, he had emerged as one of the most passionate and dedicated graffiti writers of his generation, and in the twenty-seven-plus years since then, he has become one of graffiti’s greats.  Drawing on an extensive knowledge of graffiti’s history of lettering styles and techniques, he has a visual vocabulary and versatility with letters nearly unparalleled worldwide and has held his own on walls with the best of the best. 

Review >>  White Hot Magazine April 2018

RRime Artist Talk (Vimeo)

Read More about Rime –>

 

Carlos Rodríguez Cárdenas

carlos rodríguez cárdenas

Tree of Life (Arbol de la Vida), 2018, acrylic on linen, atlas map collage,  28″ x 28″

Carlos Rodríguez Cárdenas, born in 1962 in Santi Spiritus, Villa Clara, is one of the important Cuban artists who came to contemporary art spotlight in the mid-1980’s.  Since that time, his exile in Mexico in the early 1990s and settling in New York, his work has been known for its exquisite and ironic artistry, inviting the viewer to question reality and see beyond the world of the official word imposed by the system.

In his most recent work, Cárdenas rekindles the nature and landscape of New York and depicts the megalopolis in a more sobering new order with a balance of Cartesian-like geometries. His pictorial conventions are characterized by subtle counterpoints, mysticism and rationality, the yin and yang of the natural and urban environment.

Cárdenas is in major collections, including Whitney Museum of American Art, New York; Peter Ludwig Museum, Cologne, Germany; Ludwig Forum for International Art, Aachen, Germany; Museum of Art Fort Lauderdale; Museo Provincial de Santa Clara, Villa Clara; and National Museum of Fine Arts Havana, Cuba — as well as many private collections.  He has exhibited internationally, including solo exhibitions at GE Galeria, Mexico; Galeria Nina Menocal, Mexico; Galeria Ramis F. Barquet, Madrid, Spain; Fredric Snitzer Gallery, Coral Gables; and ARCO 93 International Art Fair, Madrid.  Group shows in which he has been featured include the Walker Art Center, Minneapolis; Museum of Fine Arts, Houston; Perez Art Museum, Miami; 1989 Havana Biennial; Stadtische Kunsthalle,Dusseldorf, Germany; Centro Atlantico de Arte Moderno, Las Plasmas de Gran Canaria, Spain; and Samuel P. Hart Museum of Art.  He earned the Collective Prize Cuban Painting, awarded to participate at the First Biennial Jaume Guasch, Barcelona, Spain. Cárdenas completed his arts studies in 1983 in Havana’s Instituto Superior de Arte (ISA), and currently lives and works in New York City. 

Lien Truong

Lien Truong

Lien Troung Mutiny

…and still we banter with the devil, 2017, oil, silk, acrylic, antique 24k gold leaf obi thread, 19th century American cotton on canvas, 72″ x 96″

Lien Truong’s art boldly investigates ideological models of our history and culture.  In her most recent works, she combines the Hudson River Valley School “western” landscape, gestural abstractions, cultural textile designs, and compositions from Asian war prints.  She mixes layers of images and departs from a standard visual experience.  Truong’s landscapes and figures, culled from the historic and recent past, present “narrative histories” through a type of blended painting.  Truong (MFA, Mills College) currently lives and works in North Carolina.  

Truong has exhibited her work at such institutions as the National Portrait Gallery, Washington DC; the Oakland Museum of California; the Weatherspoon Museum; the North Carolina Museum of Art; and the Pennsylvania Academy of Art.  She has participated in artist residencies at the Oakland Museum of California and the Marble House Project and has received reviews and mention in several publications including New American Paintings, ARTit Japan, and Art Asia Pacific.

SELECTED EXHIBITIONS
2018 In(di)visible, Station Museum of Contemporary Art, Houston, TX; Cameron Museum of Art, Wilmington, NC
2017 Translatio Imperii, Gutterbox Gallery, Raleigh, NC
          Digiscapes, Curated by Anthony Hamilton, Lump, Raleigh, NC
          Art on Paper, Curated by Emily Stamey, Weatherspoon Art Museum, Greensboro, NC
          Objectifying Myself: Works by Women Artists from the Pennsylvania Academy of Fine Arts, William Benton Museum of Art, Storrs, CT
          For Liberty and Justice for Some, Walter Maciel Gallery, Los Angeles, CA
          Shimmer, Light and Design Gallery, Chapel Hill, NC
2016 Seeping of a Ghost, Gallery Bastejs, Riga, Latvia (solo)
          Musings on an Origin, Spectre Arts, Durham, NC Typecast, Hillyer Art Space, Washington, DC
2015 Heterotopias as Other, Nha San Collective, Hanoi, Vietnam (solo)
2014 The Orient, The Occident, Galerie Quynh, Ho Chi Minh City, Vietnam (solo)
          Summer Shuffle: Contemporary Art @ PAFA Remixed, Pennsylvania Academy of Fine Arts
          The Mother Load, The Center for Creative Connections, Dallas Museum of Art, TX
2013 Contemporary Vietnamerican Art, Maier Museum of Art, Lynchburg, VAThe
          Linda Lee Alter Collection of Art by Women
, Pennsylvania Academy of Fine Arts, PA
2012 Alter/Altar: Meditations on the Past, The Morris and Gwendolyn Cafritz Foundation Art Center
          Collisions of Clamor and Calm, Galerie Quynh, HCMC, Vietnam
          Art HK 12, Hong Kong International Art Fair, with Galerie Quynh
2011 Bite Sized Monsters, Modern Eden, San Francisco, CA
2010 Twombly House/Ephemeral Museum, Portland, OR
         Outwin Boochever Portrait Exhibition, National Portrait Gallery, Smithsonian Institution, Washington D.C
2009 Family Pictures, Root Division, San Francisco, CA
2008 In Transition Russia, Municipal Centre for Contemporary Art, Yekaterinburg
          National Centre for Contemporary Arts, Moscow, Russia
2007 House of Adoration, Galerie Quynh Contemporary Art, HCMC, Vietnam (solo)
         House of Adoration, Ryllega Experimental Art Gallery, Hanoi, Vietnam (solo)
         Small Works, Morris Graves Museum of Art, Eureka, CA
2006 Portrait of a Contemporary Family, First Street Gallery, Eureka, CA
           Portrait of a Family, Southern Exposure, San Francisco, CA

           National Juried Exhibition, Marin Art Center, Marin, CA Juror: Rene de Guzman
          Small Works Invitational, Gallery Dog, Eureka, CA
          Out of Context, Huntington Beach Art Center, Huntington Beach, CA
          Face Paint, Bucheon Gallery, San Francisco, CA
2004 Monster Drawing Rally, Southern Exposure, San Francisco, CA
          Supernatural, Southern Exposure, San Francisco, CA
          Go West! Richmond Art Center, Richmond, CA
2003 Modern Day Fairy Tales, Oakland Museum of California, CA (installation)

PUBLIC COLLECTIONS
Weatherspoon Art Museum
North Carolina Museum of Art
Pennsylvania Academy of Fine Art, in the Linda Lee Alter Collection of Art by Women
Post Vidai, Vietnam
Royal Melbourne Institute of Technology, Vietnam
Municipal Art Collection, City of Raleigh, NC
Humboldt State University

SELECT AWARDS | RESIDENCIES
2016 North Carolina Artist Fellowship, North Carolina Arts Council
          Artist-in-Residence, The Marble House Project, Dorset, Vermont
2015 Jimmy and Judy Cox Asia Initiative Award, Carolina Asia Center
2009 Outwin Boochever Portrait Finalist, National Portrait Gallery, Washington DC
          Ingrid Nickelson Artist Trust Grant
2003 Artist-in-Residence, Sweeney Granite Mountains Research Center, University of California at Riverside, Kelso, CA
         Artist-in-Residence, Oakland Museum of California, Oakland CA
2000 Jack and Gertrude Murphy Fine Arts Fellowship, The San Francisco Foundation, San Francisco, CA

SELECT ARTIST LECTURES
2017 Weatherspoon Art Museum, Greensboro, NC
2016 Mark Rothko International Art Center and Museum, Daugavpils, Latvia
          Lavtian Art Academy, Riga, Latvia
          Marble House Project, Dorset, VT
2015 Ackland Museum of Art, NC
          Nha San Art Collective, Hanoi, Vietnam
2007 Morris Graves Museum of Art, Eureka, CA
          Galerie Quynh, Ho Chi Minh City, Vietnam                    
2004 Huntington Beach Art Center, Huntington Beach, CA
2004 Southern Exposure, San Francisco, CA
2003 Oakland Museum of California, Oakland, CA

SELECT REVIEWS | CITATIONS
2018             Glentzer, Molly, “…and still we banter with the Devil by Lien Truong,” The Houston Chronicle, March 21, 2018    
2017             Dunne, Susan, “Women Create Art Reflecting Their Lives, Thoughts In Benton Exhibit,” Hartford Courant, April 8, 2017
2016             Vitiello, Chris, “The Most Essential Local Art of 2016 Punched Back at a Disgraceful Year,” Indyweek, December 28, 2016
                     Stamey, Emily. New American Paintings. Issue 124. Boston, MA: The Open Studios Press, June/July, 2016
2014             Luong, Ruben. “Ho Chi Minh City,” Art Asia Pacific. Art Asia Pacific Publishing LLC, July/August 2014
                     Bernstein, Roselyn. “Between Underground and Above,” Guernica/magazine of art and politics, www.guernicamag.com
2012            Cozzolino, Robert, Editor “The Female Gaze, The Linda Lee Alter Collection of Art by Women” Pennsylvania Academy Fine Arts                                                                
2010            Buckner, Clark with Introduction by Helfand, Glen.  “A Year and a Half of Art in San Francisco,” Mission 17 Gallery
                     San Francisco, CA: M17 Books Publishing, 2010
2009             “Outwin Boochever Portrait Exhibition,” National Portrait Gallery Catalog, Smithsonian, Washington DC
2007            Uda, Motoko, “Lien Truong,” ARTit Japan’s Bilingual Art Quarterly, Issue 16, 2007
2005            “Out of Context,” The Huntington Beach Art Center Exhibition Catalogue, CA, 2005
2004            Ellegood,Anne. New American Paintings. Issue 49. Boston, MA: The Open Studios Press, January, 2004
                     Bing, Alison. “Portrait of a Contemporary Family,” The San Francisco Chronicle, www.sfgate.com, March 26, 2004
                     Buckner, Clark. “Portraits of a Family,” Critics Choice Review, The San Francisco Bay Guardian. San Francisco, CA, March 17

RIME

RIME

 

RIME was born in 1979 and grew up in Brooklyn, Staten Island and New Jersey.  By the mid-1990s, he had emerged as one of the most passionate and dedicated graffiti writers of his generation, and in the twenty-seven-plus years since then, he has become one of graffiti’s greats.  Drawing on an extensive knowledge of graffiti’s history of lettering styles and techniques, he has a visual vocabulary and versatility with letters nearly unparalleled worldwide and has held his own on walls with the best of the best.

RIME has a knowledge of and facility with the entire vocabulary of graffiti lettering styles that is nearly unparalleled worldwide. He can paint pieces in what seems to be nearly every style from throughout graffiti’s fifty year history, yet they always feel fresh, not derivative, and always his own.  Brooklyn born, Staten Island raised, and longtime New Jersey resident RIME’s playful, character-filled work is full of color and movement, and from simple to complex, from soft to jagged, he is one of the few who can truly do it all in graffiti. If he can’t, his alter-alter ego, quasi-performance artist JERSEY JOE probably can. 

RIME’s knack as a graffiti writer is much like that of a great jazz musician: he is able to elevate everyone’s level of play with his presence.  At this point in his life, RIME has painted alongside as many of the greats of graffiti as anyone, and he’s brought out the best in them. With a background of such versatility and strong individual performance, RIME moved to California from 2005 to 2013, becoming part of the great Los Angeles crews MSK and AWR.  Culturally, the more laid-back collective attitude was an adjustment: the abrasive, assertive energy that comes with an upbringing in New York City that didn’t always fit in.  But RIME was more active than ever, with the weather making for a pleasurable year-round experience.   

When it came to studio work, the dynamic was very different. While he had made works on canvas before, he felt at something of a dead end, and RIME wanted to go back to basics before moving forward again.  In great demand to paint and appear at graffiti events, where he would endlessly sign fans’ black books, RIME originally focused on what was portable and familiar, working on paper and finding the direction he wanted to pursue.  After resettling back in New York in 2013, he set up a formal studio practice for the first time, cut far back on travel, and focused his energies deeply into new bodies of studio work while still actively painting outdoors. 

RIME’s new studio works are dynamic, with the swoops and loops that he had perfected in graffiti with a combination of spray paint and sublime muscle memory and bodily control able to convey an emotional emphasis.  His signature cartoon characters peek out from the bends of these swoops, often reduced to suggestive figurative elements.  The color schemes of his outdoor pieces, were, like any graffiti writer, made with whatever happened to be in the bag of paint that day, far out in the field, and often that meant wild pieces with dozens of colors.  Yet his studio works pared these schemes down to a few well-chosen colors that played brilliantly together.  Like his graffiti pieces, RIME’s studio works are composed in a format meant to be read: figurative images are often presented in profile or in action, carrying a sequential order through the image, an algebra of image, phrase, and meaning.  

RIME had always been pro-organic, anti-artificial, in his work.  You could see it in the graffiti: the sacred radius of the swing of the arm, the full dip in the knees and waist to a crouch.  Never to measure, never to tape off, instead to use the sacred geometry of the body, of the confidence of style, of the moment, to divine proportions.  But in a recent DMT experience he encountered a sense of how technologically coded our minds and existence are. He experienced what felt like an artificial, full color, three-dimensional program.  He reconsidered the notion that this life, the universe, and consciousness was of organic origin. He felt the ones and zeros, the perfection of right angles, the grid structure undergirding the cosmos, and he began to work with what he had once closed off. 

 

SELECTED EXHIBITIONS

2017  Up on Through, Galerie Wallworks, Paris

2016  Conclusions, Jonathan LeVine Gallery, New York

2015  Danger Zone, Galerie Wallworks

2014  Reaction Lines, Galerie Wallworks

2013  Out With The Old, Library Street Collective, Detroit

           TWFSL, The Seventh Letter Gallery, Los Angeles

2012  Sketchy M@#%herfuckers [with KC], Known Gallery, Los Angeles

           Dangerous Drawings About New York [with Toper], Klughaus Gallery, New York

2011  Perseverance [with Roid and Revok], Known Gallery, Los Angeles

           Mural for Art in the Streets, MoCA, Los Angeles

2008  Will Rise, Robert Burman Gallery, Los Angeles

2006  Letters First [with The Seventh Letter], Tokyo and Taipei

2004  Application, Perth Institute of Contemporary Arts, Perth, Australia

 

SELECTED PRESS

Rime at Gallery Thomas Jaeckel, by  Jeffrey Grunthaner, White Hot Magazine April 2018

Per Adolfsen

per adolfsen

Transparent II, 2017, oil on canvas, 47″ x 31″, 120 x 80 cm

Per Adolfsen lives and works in Odense, Denmark, where he was born in 1964.  His earlier work comprised emotionally charged acrylic paintings that seamlessly merge representational and abstraction and text, and engaged the viewer in a seductive world of fantasy and uncertainty that recalls classic Scandinavian angst.  His most recent contemplative oil paintings, a marked break with his prior series, demonstrates his evolving commitment to using the medium as tool for breaking past stereotype and false exteriors in order to know other people and one’s self.  The neutral palette and minimal backgrounds in many pieces allow the viewer to be fully focused on the people foregrounded in the paintings and punctuated by moments of brilliant color—a lavender head scarf, crystalline blue eyes.  Adolfsen’s recent portraiture points the way toward an ethical vision by seeking to represent the colorful bonds that tie people together. 

 

Select Solo Exhibitions  

2018       “The Ribbons That Tie Us”, 532 Gallery Thomas Jaeckel, New York

2013       ”Goodbye Blue sky”,  Schuebbe Projects , Düsseldorf 

2011       ”The Imaginary Eden of Mr. Adolfsen”, Art Labor Gallery, Shanghai

2011       ”Lifewire”, Schuebbe Projects, Düsseldorf 

2010       ”The world is floating”, 532 Gallery Thomas Jaeckel, Chelsea, New York 

Select Group Exhibitions

2018.       “Ten Years After” 532 Gallery Thomas Jaeckel , New York

2017        “Ecco Homo Ecco Homo”  St Canscius Kirche Berlin, Curated by A. Ochs,  Berlin

2016         Frederikshavn Kunstmuseum, “Another Land” Frederikshavn

2016         “50×50” Kastrupgaardsamlingen, Copenhagen

2016         Galleri Kirk,Groupshow , Eske Kath,Kasper Eistrup,Mie Olise Kjærgaard , Ålborg

2016          Art Labor Gallery,, artists of the gallery , Shanghai

2015.        Kunsthal Nord, Selection of works from Ålborg Kommune collection, Ålborg

2015        “Menneske”,with Svend Engelund, Agnete Bjerre, Kirsa Andreasen Birgitte                 

                 Støvring, Kristan Devantier, Camilla Thorup, Kunstbygningen Vrå (October, 2015) 

2015        ”Drei Räume, drei Künstler”, with Miriam Vlaming og  Lu Song, Alexander Ochs Private, Berlin

2014        Dialogues with the collection” Kunstbygningen i Vrå, Engelund Samlingen                

2014        ”Fatal”, with.Tanja Selzer, Nandor Anstenberger, Miriam Vlaming,                            

              Kunsthaus Bethanien (Curated by Art Historian Heike Fuhlbrügge) Berlin

2013         ”Thank God I`m Pretty”, with Frederik Foert, Andreas Amrhein , Vanessa von 

                 Heydebreck, Alexander Ochs Galleries, Berlin                 

2013         ”Septemberudstillingen”, Fanø Kunstmuseum          

2013         ”Medley”, Udstilling Focus on drawing with Franz Burkhardt, Christian Schoeler

                 Yokako Ando, Piot Brehmer, Schüebbe Projects, Düsseldorf               

2012         ”Springshow”, 532 Gallery Thomas Jaeckel, Chelsea, New York                  

2012         ”Landscapes”,  Schuebbe Projects, Düsseldorf 

2011         ”High Five” with Lu Yang, Douglas Coupland, Eric Leleu, Ren Zhitian, Art Labor   

                 Gallery, Shanghai                

2011          “Ode on Melancholy” with Tom Anholt, Marco Reichert , Marcy Brafman, Janine  

                 Bean Gallery, Berlin              

2010         ”Second Impressions”, Art Labor Gallery, Shanghai            

RECENT PRESS
                 Review ”Berliner Zeitung” 2013 

                  Review ”Art Info” Berlin 2013, by Alexander Forbes 

                  Kunst i øjet, DK4, 2011 (Danish television –artist portrait)

                  Portrait/article ”Glasschord art and Culture Magazine New York” 2011 

                  Review  ”Randian online magazine”, China 2011, by Jennifer Hall 

                  Portrait on Danmarks Radio P1, 2010 

                  Review ”Art Magazine M, The New York Art World” 2010, M. Brendon Macinnis 

 

Per Adolfsen: The Ribbons That Tie Us

 

Per Adolfsen
The Ribbons That Tie Us
March 1 – 31, 2018

532 Gallery is pleased to present our second solo exhibition with Danish painter Per Adolfsen. An exhibition of figurative works and portraiture from 2014 to the present The Ribbons That Tie Us showcases the artist’s sensitive rendering of his subjects’ inner lives. A marked break with his previous emotionally charged acrylic paintings that merged representation, abstraction, and text (exhibited at 532 Gallery Jaeckel in 2010), the contemplative oil paintings in The Ribbons That Tie Us demonstrate the artist’s evolving and deepening commitment to breaking past stereotype and false exteriors in order to truly know other people. The neutral palette and minimal backgrounds in many of his paintings allow the viewer to be fully present with the people foregrounded in them who are punctuated by moments of brilliant color—a lavender head scarf, crystalline blue eyes.

Transparent (2017)

In his Transparent series, Adolfsen abandons the superficial cliché as a starting point and instead looks deeply to reveal the multifaceted psyche of his sitter, a fellow artist friend. Transparent II is bathed in an invigorating pale blue haze that permeates the woman’s skin and clothing. The border between her body and the background blurs at times. Is she in a state of dissipation or becoming? Regardless, she stands unperturbed: shoulders square with the viewer, lips cocked in a confident smirk. Not the mere object of a consuming gaze, the woman in Transparent II asserts her own agency by looking back at the viewer. Transparent III shows the same woman slightly larger than life. Once again meeting the viewer’s gaze with blue-green eyes—whose lids are described in sharp orange lines with the geometric structure of Cézanne’s graphite portraits—she appears relaxed, yet strong.

Transparent I reveals a different facet of Adolfsen’s artist friend, and by doing so gives the viewer a fuller picture of her. A powerful warm light threatens to overwhelm the figure—her skin and yellow camisole almost lost in the blinding glow of the background—yet her eyes securely anchor her in space and bind her to the viewer even while a series of quick, repetitive diagonal strokes describing her hair bely an inner anxiety.

Hibba (2016)

Adolfsen’s series of portraits of his Danish-Muslim friend Hibba are the apogee of his journey into empathic, deep looking. In Hibba I we see the bold contour of Hibba’s dignified profile against a background of alabastrine white whose light infuses the composition with warm energy. Brushmarks delicately sitting on the surface of the canvas attentively describe Hibba’s eyes, eyebrows, lips; her self-assured expression and her gaze are simultaneously introspective and assertive. As in all four portraits of Hibba, cascading lines follow the folds of her lavender hijab, which Adolfsen renders beautiful without exoticizing.

In the Hibba series, as in the Transparent series, Adolfsen’s multiple portraits work in concert to reveal a fully dimensional personality. In Hibba II and Hibba III, Hibba looks out at the viewer with disarming humor. She seems to say, “I caught you looking at me. Well, I can look back at you, too!” In Hibba IV she retracts her gaze, and playfully rolls her eyes. Rather than rendering her the passive object of the artist’s gaze, Adolfsen has opened a space where Hibba asserts her own agency.

In contemporary North America and Europe countless phobic and stereotypical images portray Muslim women as either cold and threatening or as helpless and oppressed. (In canonical Western painting Muslim women have been largely invisible, save for their exoticization in nineteenth-century “Orientalist” works.) At other times today, the Muslim woman becomes a political icon, as in Shepard Fairey’s We the People posters (2017), one of which features Queens resident Munira Ahmed wearing a United States flag as hijab. Adolfsen’s Hibba overcomes both extremes: stereotype and icon. By looking and looking again, he is able to truly see Hibba and know who she is outside of any political rhetoric, which in the present climate is paradoxically an implicit political act.

Clichés (2014)

In 2014 Adolfsen painted a series exploring clichéd images of femininity. The most sophisticated works in this series occupy an ambivalent territory: on the one hand they investigate the flattening effects of stereotypes, which he imports from both the weighty tradition of Western figurative painting and contemporary advertising; but on the other hand, they begin to dismantle stereotypical roles and gazes by revealing an emerging agency in their female subjects.

In a pose that could have been appropriated from a cosmetics or facial cleanser advertisement, the poised figure in profile in Spanish Woman looms monumental. The side of her face, cast in cool maroon shadow, deflects the viewer’s gaze forcing it to ricochet among the patterns of painted parallel streaks composing her face and the background. Lubricious painterly lines fluidly slide along the figure in Berlin Woman who stares at the viewer with an intensity that recalls the paintings of Die Brücke. Her nakedness and closed body language suggest vulnerability and guardedness; her clenched fist indicates a latent ferocity. The pose is one that could have been taken from any number of titillating, sexy advertisements, but the figure’s psychological intensity—reinforced by the fiery orange shadows around the eyes—and the androgynous queering of gender defy prepackaged commercial messaging.

The Ribbons That Tie Us (2016)

The exhibition’s title The Ribbons That Tie Us refers to a homonymous series of still lifes included in the show, in which painted bands of ribbon glide back and forth across the surface of the canvas like dancers entering and exiting a stage. In one, orange ribbons occasionally twist and turn abruptly, like leaps and pauses in the choreography. The warmth of this painting’s color and the energy of its movement echoes the vitality of the portraits in the Transparent and Hibba series. In this way the ribbon paintings and their title serve as a metaphor for the relational character of the figurative work throughout the exhibition. In the journey from clichéd images to intimate renderings of friends, Adolfsen uncovers the colorful psychical, emotional, and empathic bonds that tie the artist to his subjects and, in turn, the viewer to the artwork.

Born in 1964, self-taught Danish painter Per Adolfsen has shown his work in New York, Germany, Hong Kong, and Denmark. His exhibitions include several gallery and museum exhibitions, including at the Frederikshavn Kunstmuseum- og Exlibrissamling and at the Kastrupgaardsamlingen. The Ribbons That Tie Us is Adolfsen’s second solo exhibition at 532 Gallery.

Celebrating its 10th year, 532 Gallery’s  objective is to present fresh, vibrant works that capture the aesthetic dynamics of 21st century. The gallery represents a group of international artists who are producing significant works of lasting value that explore, engage and resonate with contemporary visual culture.

Ten Years After

In celebration of our tenth year in Chelsea, we are pleased to present Ten Years After, an exhibition of works by 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, and artistic visions.

Read more

Gustavo Acosta

Gustavo Acosta

 

Gustavo Acosta was born in in Havana, Cuba in 1958.  His intensely hued portrayals of sites in Havana, Miami, New York, and the Middle East feature rectilinear overlays of strong, intensely moody colors that integrate multiple 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 — with subtle references to the small flashes of vitality and inspiration that lurk within even the most drab and desolate environments. His canvases engage with neglected, antiquated, and somber settings, in the hope of revealing their meaning and living purpose for the present.

Acosta’s work is in many major institutions, including the Museum of Contemporary Art, MOCA; Lowe Art Museum; El Museo del Barrio; Frost Art Museum; and Museo Nacional de Bellas Artes.  He completed his arts studies in Havana’s Instituto Superior de Arte (ISA), and currently lives and works in Miami.

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

SELECTED SOLO EXHIBITIONS
2017 “Inventory of Omissions” 532 Gallery Thomas Jaeckel New York.
2016 “Paper Trail” Panamerican Art Projects, Miami
2015 “Timeline” Latin American Masters. Santa Monica, CA
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, CA
          “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, Miam
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
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” U 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

RECENT PRESS
Whitehot Magazin Review October 2017

 

 

 

 

 

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

Follow 532 Gallery Thomas Jaeckel on Artsy

SUMMER 2017

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

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?

 

 

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

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