Contemporaneous Extension


Treatz

Tabaimo:

TABAIMO, 'dolefullhouse,' 2007, Single channel video installation (6 min 21 sec loop)

TABAIMO, 'dolefullhouse,' 2007, Single channel video installation (6 min 21 sec loop)

TABAIMO, 'dolefullhouse,' 2007, Single channel video installation (6 min 21 sec loop) Installed at the Philadelphia Museum of Art

TABAIMO, 'dolefullhouse,' 2007, Single channel video installation (6 min 21 sec loop) Installed at the Philadelphia Museum of Art

TABAIMO, 'public conVENience,'2006, video installation dimensions variable, duration: 6 minutes and 5 seconds, Installed at James Cohan Gallery, New York

TABAIMO, 'public conVENience,'2006, video installation dimensions variable, duration: 6 minutes and 5 seconds, Installed at James Cohan Gallery, New York

TABAIMO, 'guignorama,' 2006, Video installation (2 min 36 sec)

TABAIMO, 'guignorama,' 2006, Video installation (2 min 36 sec)

TABAIMO, 'teleco-soup,' 2011, (projection still) 54th International Art Exhibition — La Biennale di Venezia 2011 — Japan Pavilion, Giardini di Castello, Venice. Copyright the artist. Courtesy James Cohan Gallery, New York/Shanghai

TABAIMO, 'teleco-soup,' 2011, (projection still) 54th International Art Exhibition — La Biennale di Venezia 2011 — Japan Pavilion, Giardini di Castello, Venice. Copyright the artist. Courtesy James Cohan Gallery, New York/Shanghai

TABAIMO, 'teleco-soup,' 2011, (projection still) 54th International Art Exhibition — La Biennale di Venezia 2011 — Japan Pavilion, Giardini di Castello, Venice. Copyright the artist. Courtesy James Cohan Gallery, New York/Shanghai
TABAIMO, ‘teleco-soup,’ 2011, (projection still) 54th International Art Exhibition — La Biennale di Venezia 2011 — Japan Pavilion, Giardini di Castello, Venice. Copyright the artist. Courtesy James Cohan Gallery, New York/Shanghai

((Tabaimo is currently showing at the Venice Biennale at the Japanese Pavilion. Design Boom put up some great coverage with images and video you should check out. ))

Tony Matelli:

Tony Matelli, 'Wipe,' urethane on mirror, 2011

Tony Matelli, 'Wipe,' urethane on mirror, 2011

Tony Matelli, 'Yesterday,' polychromed bronze, beer cans, 2010

Tony Matelli, 'Yesterday,' polychromed bronze, beer cans, 2010

Tony Matelli, 'Yesterday' (detail), polychromed bronze, beer cans, 2010

Tony Matelli, 'Yesterday' (detail), polychromed bronze, beer cans, 2010

Tony Matelli, 'Small Double Meat Head (Fresh),' cast aluminum, bronze, urethane, paint, 2009

Tony Matelli, 'Small Double Meat Head (Fresh),' cast aluminum, bronze, urethane, paint, 2009

Tony Martelli, 'Double Meat Head (Fresh),' (detail), cast aluminum, cast bronze, urethane, paint, 2008

Tony Martelli, 'Double Meat Head (Fresh),' (detail), cast aluminum, cast bronze, urethane, paint, 2008

Tony Matelli, 'Double Meat Head (Fresh),' (detail), cast aluminum, cast bronze, urethane, paint, 2008

Tony Matelli, 'Double Meat Head (Fresh),' (detail), cast aluminum, cast bronze, urethane, paint, 2008

Tony Matelli, 'Small Double Meat Head (Rotted),' cast aluminum, bronze, urethane, paint, 2009

Tony Matelli, 'Small Double Meat Head (Rotted),' cast aluminum, bronze, urethane, paint, 2009

Tony Matelli, 'Double Meat Head (Rotted),' (detail), cast aluminum, cast bronze, urethane, paint, 2008

Tony Matelli, 'Double Meat Head (Rotted),' (detail), cast aluminum, cast bronze, urethane, paint, 2008

Tom Matelli, 'Double Meat Head (Rotted),' (detail), cast aluminum, cast bronze, urethane, paint, 2008

Tom Matelli, 'Double Meat Head (Rotted),' (detail), cast aluminum, cast bronze, urethane, paint, 2008

((Currently showing at the Venice Biennale at the Palazzo Bembo as part of the ‘Personal Structures‘ exhibition.))

Kate Pane:

Kate Pane, 'Summer Swiming Sinking,' 2011, 40"x50", acrylic on canvas

Kate Pane, 'Summer Swiming Sinking,' 2011, 40"x50", acrylic on canvas

Kate Pane, 'Toot and Skirt,' 2011, 10" x 5", pen on paper

Kate Pane, 'Toot and Skirt,' 2011, 10" x 5", pen on paper

Kate Pane, 'Take Me Away With You Forever,' 2011, 60"x70", acrylic on canvas

Kate Pane, 'Take Me Away With You Forever,' 2011, 60"x70", acrylic on canvas

Kate Pane, 'Hang High,' 10"x5", pen on paper, 2011

Kate Pane, 'Hang High,' 10"x5", pen on paper, 2011

Kate Pane, 'Untitled 2,' 114" x 78 , Acrylic and Enamel on Canvas, 2011

Kate Pane, 'Untitled 2,' 114" x 78 , Acrylic and Enamel on Canvas, 2011

Kate Pane, 'Untitled 1,' 2011, 132" x 72", Acrylic and Enamel on Canvas

Kate Pane, 'Untitled 1,' 2011, 132" x 72", Acrylic and Enamel on Canvas

Kate Pane, 'Play With Me,' 20"x20", acrylic on canvas, 2011

Kate Pane, 'Play With Me,' 20"x20", acrylic on canvas, 2011

Amy Feldman:

Amy Feldman, Sidereal Gravy,'  2009,  68 " x 80",  acrylic, polymer, spray paint on canvas

Amy Feldman, Sidereal Gravy,' 2009, 68 " x 80", acrylic, polymer, spray paint on canvas

Amy Feldman, 'Secondary Fruit,' 2009,  36" X 42",  acrylic, polymer, spray paint on canvas

Amy Feldman, 'Secondary Fruit,' 2009, 36" X 42", acrylic, polymer, spray paint on canvas

Amy Feldman, 'ASPA  RAGU  S,'  2009,  24" x 24",  acrylic, polymer, spray paint on board

Amy Feldman, 'ASPA RAGU S,' 2009, 24" x 24", acrylic, polymer, spray paint on board

Amy Feldman, 'O,' 2008,  36" x 36 ",  acrylic, polymer, and spray paint on canvas

Amy Feldman, 'O,' 2008, 36" x 36 ", acrylic, polymer, and spray paint on canvas

Amy Feldman, 'Square Bounty,'  2009,  20" x 20",  acrylic, polymer, spray paint on canvas

Amy Feldman, 'Square Bounty,' 2009, 20" x 20", acrylic, polymer, spray paint on canvas

Amy Feldman, 'Va...Va...Va...V,' 2008,  80" x 88 "  acrylic, polymer, and spray paint on canvas

Amy Feldman, 'Va...Va...Va...V,' 2008, 80" x 88 " acrylic, polymer, and spray paint on canvas

Amy Feldman, 'Untitled,' 2007, ink on paper

Amy Feldman, 'Untitled,' 2007, ink on paper

Amy Feldman, 'squid weiners,' 2007, photo and marker on paper

Amy Feldman, 'squid weiners,' 2007, photo and marker on paper

Erkut Terliksiz:

Erkut Terliksiz

Erkut Terliksiz

Erkut Terliksiz

Erkut Terliksiz

Erkut Terliksiz

Erkut Terliksiz

Erkut Terliksiz

Erkut Terliksiz

Erkut Terliksiz

Erkut Terliksiz

Erkut Terliksiz

Erkut Terliksiz

Erkut Terliksiz

Erkut Terliksiz

Erkut Terliksiz

Erkut Terliksiz

Erkut Terliksiz

Erkut Terliksiz

Manny Prieres:

Manny Prieries, 'Pentagram,' 2009,' Graphite on Paper, 30 x 22 in.

Manny Prieres, 'Pentagram,' 2009,' Graphite on Paper, 30 x 22 in.

Manny Prieres, 'Hacksaw'

Manny Prieres, 'Hacksaw'

Manny Prieres, 'Remnants No. 2,' 9 x 12 in.

Manny Prieres, 'Remnants No. 2,' 9 x 12 in.

Manny Prieres, 'Remnants No. 3,' 9 x 12 in.

Manny Prieres, 'Remnants No. 3,' 9 x 12 in.

Manny Prieres, unknown image via Miami Bourbaki

Manny Prieres, unknown image via Miami Bourbaki

Manny Prieres, 'Mother,' 72x52.5", graphite, gouache, watercolor on paper

Manny Prieres, 'Mother,' 72x52.5", graphite, gouache, watercolor on paper

Mattia Biagi:

Mattia Biagi, From Freedom Series

Mattia Biagi, From Freedom Series

Mattia Biagi, From Freedom Series

Mattia Biagi, From Freedom Series

Mattia Biagi, From Recognize Your Spirituality, Rediscover Your Faith in Religion

Mattia Biagi, From Recognize Your Spirituality, Rediscover Your Faith in Religion Series

Mattia Biagi, Recognize Your Spiritual Need, Rediscover Your Faith in Religion Series

Mattia Biagi, Recognize Your Spiritual Need, Rediscover Your Faith in Religion Series

Mattia Biagi, From Recognize Your Spiritual Need, Rediscover Your Faith in Religion Series

Mattia Biagi, From Recognize Your Spiritual Need, Rediscover Your Faith in Religion Series

Mattia Biagi, From Recognize Your Spiritual Need, Rediscover Your Faith in Religion Series

Mattia Biagi, From Recognize Your Spiritual Need, Rediscover Your Faith in Religion Series

Mattia Biagi, From Recognize Your Spiritual Need, Rediscover Your Faith in Religion Series

Mattia Biagi, From Recognize Your Spiritual Need, Rediscover Your Faith in Religion Series



Treatz

Nick Oberthaler:

Nick Oberthaler, 'No Structured Narrative V,' 2010. Wax, ink and gouache on paper, 161 x 118 cm

Nick Oberthaler, 'No Structured Narrative V,' 2010. Wax, ink and gouache on paper, 161 x 118 cm

Nick Oberthaler, 'Capri (Fange den Himmel für mich),' 2010. ink, water colour, pastel, pencil, photo copy on paper, 108,5 x 78,5 cm

Nick Oberthaler, 'Capri (Fange den Himmel für mich),' 2010. ink, water colour, pastel, pencil, photo copy on paper, 108,5 x 78,5 cm

Nick Oberthaler, 'Untitled (Bohemian Nights),' 2010. pastel, ink, water colour on paper, 41 x 53 cm

Nick Oberthaler, 'Untitled (Bohemian Nights),' 2010. pastel, ink, water colour on paper, 41 x 53 cm

Nick Oberthaler, 'Untitled (Landscape),' 2009. mixed media on paper, 100 x 70 cm

Nick Oberthaler, 'Untitled (Landscape),' 2009. mixed media on paper, 100 x 70 cm

Nick Oberthaler, 'The Decline,' 2008. water colour, ink, pencil, Adhesive foil, photo copy on paper, 136 x 96 cm

Nick Oberthaler, 'The Decline,' 2008. water colour, ink, pencil, Adhesive foil, photo copy on paper, 136 x 96 cm

Joshua Petker:

Joshua Petker, 'Don't Walk Away,' 2010, Acrylic on canvas, 24 x 20 inches

Joshua Petker, 'Don't Walk Away,' 2010, Acrylic on canvas, 24 x 20 inches

Joshua Petker, 'Untitled 1,' 2010, Gouache on paper, 12 x 16 inches

Joshua Petker, 'Untitled 1,' 2010, Gouache on paper, 12 x 16 inches

Joshua Petker, 'Head Wound ARTIST EDITION,' Hand Painted, Mixed Media Overtop Silk-Screen on 100% Cotton Archival Paper and Hand Deckled Edges, 20 X 20 inches. Edition of 10

Joshua Petker, 'Head Wound ARTIST EDITION,' Hand Painted, Mixed Media Overtop Silk-Screen on 100% Cotton Archival Paper and Hand Deckled Edges, 20 X 20 inches. Edition of 10

Joshua Petker, 'Ginger Rogers Without Makeup,' mixed media, date unknown

Joshua Petker, 'Ginger Rogers Without Makeup,' mixed media, date unknown

Praneet Soi:

Praneet Soi, 'Piggyback,' Acrylic on canvas, 12.5" x 12.5", 2008

Praneet Soi, 'Piggyback,' Acrylic on canvas, 12.5" x 12.5", 2008

Praneet Soi, 'The Dream,' Acrylic on canvas, 12.5" x 12.5", 2008

Praneet Soi, 'The Dream,' Acrylic on canvas, 12.5" x 12.5", 2008

Praneet Soi, 'Untitled (Drawing the reach),' 2011, UV pigment print on hardwood, unique, 122 x 188 cm

Praneet Soi, 'Untitled (Drawing the reach),' 2011, UV pigment print on hardwood, unique, 122 x 188 cm

Praneet Soi, 'Untitled (Something other than itself),' 2011, UV pigment print on hardwood, unique, 122 x 174 cm

Praneet Soi, 'Untitled (Something other than itself),' 2011, UV pigment print on hardwood, unique, 122 x 174 cm

Praneet Soi, 'Boukje,' 2009, acrylic on canvas, 96 x 126 cm

Praneet Soi, 'Boukje,' 2009, acrylic on canvas, 96 x 126 cm

Praneet Soi, 'Pieta,' 2009, acrylic on canvas, 112 x 150 cm

Praneet Soi, 'Pieta,' 2009, acrylic on canvas, 112 x 150 cm

Lucy Stein:

Lucy Stein, 'Sulky,' 2006, Pencil, 19 x 25 inches

Lucy Stein, 'Sulky,' 2006, Pencil, 19 x 25 inches

Lucy Stein, 'Some Girls are bigger than others,' 2006, Ink and color pencil on paper, 50 x 65 cm

Lucy Stein, 'Some Girls are bigger than others,' 2006, Ink and color pencil on paper, 50 x 65 cm

Lucy Stein, 'Chubby Anxiety (Tabasco Eyes),' 2007, Pencil, crayon, Tabasco on paper, 15 3/4 x 12 inches

Lucy Stein, 'Chubby Anxiety (Tabasco Eyes),' 2007, Pencil, crayon, Tabasco on paper, 15 3/4 x 12 inches

Lucy Stein, 'How famous?', 2007, Pencil, crayon on paper, 16 9/8 x 12 inches

Lucy Stein, 'How famous?', 2007, Pencil, crayon on paper, 16 9/8 x 12 inches

(shout out nicky six: this is an ideal match to the 2UP poster)

Lucy Stein, 'Everything Rhymes With Your Condition,' 2010, ink and watercolour on paper, 25 x 35 cm

Lucy Stein, 'Everything Rhymes With Your Condition,' 2010, ink and watercolour on paper, 25 x 35 cm

Lucy Stein, 'Slow Beasts Slouching,' 2008, ink on paper, 50 x 54 cm

Lucy Stein, 'Slow Beasts Slouching,' 2008, ink on paper, 50 x 54 cm

Lucy Stein, 'Girls Gone Wild,' 2009, oil, hair, varnish on board, 50 x 50 cm

Lucy Stein, 'Girls Gone Wild,' 2009, oil, hair, varnish on board, 50 x 50 cm

Lucy Stein, 'Saint Lucy,' 2009, oil and hair on board, 35 x 50.5 cm

Lucy Stein, 'Saint Lucy,' 2009, oil and hair on board, 35 x 50.5 cm

Lucy Stein, 'Fitness First!,' 2008, oil on canvas, 200 x 150 cm

Lucy Stein, 'Fitness First!,' 2008, oil on canvas, 200 x 150 cm

Benoit Plateus:

Benoit Plateus, 'Sans Titre,' 2010, C-print, 62 x 80 cm, Edition of 3

Benoit Plateus, 'Sans Titre,' 2010, C-print, 62 x 80 cm, Edition of 3

Benoit Plateus, 'Sans Titre,' Inkjet print, 2010, 56 x 80 cm, Edition of 2

Benoit Plateus, 'Sans Titre,' Inkjet print, 2010, 56 x 80 cm, Edition of 2

Benoit Plateus, 'Sans Titre,' 2010, Inkjet print, 61 x 80 cm. Edition of 2

Benoit Plateus, 'Sans Titre,' 2010, Inkjet print, 61 x 80 cm. Edition of 2

Benoit Plateus, 'Sans Titre,' 2010, C-print, 58 x 80 cm. Edition of 2

Benoit Plateus, 'Sans Titre,' 2010, C-print, 58 x 80 cm. Edition of 2

Benoit Plateus, 'Deux cosmonautes,' 2009, Framed C-print, 187 x 135 cm.

Benoit Plateus, 'Deux cosmonautes,' 2009, Framed C-print, 187 x 135 cm.

Benoit Plateus, 'Stéréo I,' 2008, Framed c-print, 185 x 135 cm. Edition of 2

Benoit Plateus, 'Stéréo I,' 2008, Framed c-print, 185 x 135 cm. Edition of 2

Megan Berk:

Megan Berk, 'Dark Room,' oil on canvas, 24x24

Megan Berk, 'Dark Room,' oil on canvas, 24x24

Megan Berk, 'Platform,' acrylic and oil on panel, 24x32

Megan Berk, 'Platform,' acrylic and oil on panel, 24x32

Megan Berk,'Parking,' acrylic and oil on panel, 36x48

Megan Berk,'Parking,' acrylic and oil on panel, 36x48

Megan Berk, 'Palm Springs 1,' acrylic and aquarelle on panel, 34x60

Megan Berk, 'Palm Springs 1,' acrylic and aquarelle on panel, 34x60

Megan Berk, 'Eichler 2,' 2010, acrylic on panel 11x 11

Megan Berk, 'Eichler 2,' 2010, acrylic on panel 11x 11

Megan Berk, 'Pool Party 2,' 2010, acrylic on panel, 54 x 48

Megan Berk, 'Pool Party 2,' 2010, acrylic on panel, 54 x 48

Megan Berk, Untitled, 2010/2011

Megan Berk, Untitled, 2010/2011

Samuel T. Adams:

Samuel T. Adams, 'Carriage,' 2011, collage, 10.5 x 7.5 inches

Samuel T. Adams, 'Carriage,' 2011, collage, 10.5 x 7.5 inches

Sameul T. Adams, 'Effigy,' 2011, collage, 10.5 x 7.5 inches

Sameul T. Adams, 'Effigy,' 2011, collage, 10.5 x 7.5 inches

Samuel T. Adams, 'Peepers,' 2011, collage, 10.5 x 7.5 inches

Samuel T. Adams, 'Peepers,' 2011, collage, 10.5 x 7.5 inches

Samuel T. Adams, 'Scarecrow,' 2011, collage, 10.5 x 8 inches

Samuel T. Adams, 'Scarecrow,' 2011, collage, 10.5 x 8 inches

Samuel T. Adams, 'Vessel,' 2011, collage, 10.5 x 7.5 inches

Samuel T. Adams, 'Vessel,' 2011, collage, 10.5 x 7.5 inches

Samuel T. Adams, 'Snuff,' 2011, acrylic, carborundum on canvas, 27 x 20 inches

Samuel T. Adams, 'Snuff,' 2011, acrylic, carborundum on canvas, 27 x 20 inches

Samuel T. Adams, 'Hinny,' 2011, acrylic on canvas, 19 x 20 inches

Samuel T. Adams, 'Hinny,' 2011, acrylic on canvas, 19 x 20 inches

Samuel T. Adams, 'Croaker,' 2010, acrylic on canvas, 90 x 70 inches

Samuel T. Adams, 'Croaker,' 2010, acrylic on canvas, 90 x 70 inches

Samuel T. Adams, 'Acrobat,' 2010, acrylic on canvas, 84 x 75 inches

Samuel T. Adams, 'Acrobat,' 2010, acrylic on canvas, 84 x 75 inches

Samuel T. Adams, 'Maypole,' 2010, acrylic on canvas, 76 x 68 inches

Samuel T. Adams, 'Maypole,' 2010, acrylic on canvas, 76 x 68 inches

Samuel T. Adams, 'Doppelganger,' 2008, Acrylic and Linen Over Panel, 84" x 68"

Samuel T. Adams, 'Doppelganger,' 2008, Acrylic and Linen Over Panel, 84" x 68"

Samuel T. Adams, 'High Fidelity,' 2008, Ink, Acrylic, Gouache, and Acetate on Panel , 32"x 24"

Samuel T. Adams, 'High Fidelity,' 2008, Ink, Acrylic, Gouache, and Acetate on Panel , 32"x 24"

Ryan Schneider:

Ryan Schneider, 'Windows,' 2011, Oil on canvas, 60 x 72 in.

Ryan Schneider, 'Windows,' 2011, Oil on canvas, 60 x 72 in.

Ryan Schneider, 'The Display,' 2011, Oil on canvas, 54 x 78 in.

Ryan Schneider, 'The Display,' 2011, Oil on canvas, 54 x 78 in.

Ryan Schneider, 'Send Me Through,' 2009, Oil on canvas, 72 x 96 in.

Ryan Schneider, 'Send Me Through,' 2009, Oil on canvas, 72 x 96 in.

Ryan Schneider, 'I Will Never Bow to You, Oblivion,' 2009, Oil on canvas, 72 x 60 in.

Ryan Schneider, 'I Will Never Bow to You, Oblivion,' 2009, Oil on canvas, 72 x 60 in.

Ryan Schneider, 'I'm All Around You Now,' 2009, Oil on canvas, 96 x 144 in.

Ryan Schneider, 'I'm All Around You Now,' 2009, Oil on canvas, 96 x 144 in.

Ryan Schneider, 'Sick and Snowed Out Days,' 2008, Oil on canvas, 60 x 72 in.

Ryan Schneider, 'Sick and Snowed Out Days,' 2008, Oil on canvas, 60 x 72 in.

Leigh Wells:

Leigh Wells, 2011, collage and mixed media on paper, 12.75 x 9.5". From untitled series

Leigh Wells, 2011, collage and mixed media on paper, 12.75 x 9.5". From untitled series

Leigh Wells, 2011, collage and mixed media on paper, 12.75 x 9.5". From Untitled series

Leigh Wells, 2011, collage and mixed media on paper, 12.75 x 9.5". From Untitled series

Leigh Wells, 2011, collage and mixed media on paper, 12.75 x 9.5". From Untitled series

Leigh Wells, 2011, collage and mixed media on paper, 12.75 x 9.5". From Untitled series

Leigh Wells, 2011, collage and mixed media on paper, 12.75 x 9.5". From Untitled series

Leigh Wells, 2011, collage and mixed media on paper, 12.75 x 9.5". From Untitled series

Leigh Wells, 2011, collage and mixed media on paper, 12.75 x 9.5". From Untitled series

Leigh Wells, 2011, collage and mixed media on paper, 12.75 x 9.5". From Untitled series

Leigh Wells, 2010, collage, 10 x 13.75". From Versos series

Leigh Wells, 2010, collage, 10 x 13.75". From Versos series

Leigh Wells, 2010, collage, 10 x 13.75". From Versos series

Leigh Wells, 2010, collage, 10 x 13.75". From Versos series

Leigh Wells, 2010, collage, 10 x 13.75". From Versos series

Leigh Wells, 2010, collage, 10 x 13.75". From Versos series

Leigh Wells, 2010, collage, 10 x 13.75". From Versos series

Leigh Wells, 2010, collage, 10 x 13.75". From Versos series

Leigh Wells, 2010, collage, 10 x 13.75". From Versos series

Leigh Wells, 2010, collage, 10 x 13.75". From Versos series

Leigh Wells, 2010, collage, graphite and gouache on paper, 14 x 10.5". From Vapores series

Leigh Wells, 2010, collage, graphite and gouache on paper, 14 x 10.5". From Vapores series

Leigh Wells, 2010, collage, graphite and gouache on paper, 14 x 10.5". From Vapores series

Leigh Wells, 2010, collage, graphite and gouache on paper, 14 x 10.5". From Vapores series

Leigh Wells, 2008, ink, graphite or gouache on paper, 11.25 x 15". From Tangles 2 series

Leigh Wells, 2008, ink, graphite or gouache on paper, 11.25 x 15". From Tangles 2 series



Do You See What I See?

Had a write-up posted on Hyperallergic today on Jason McCoy Gallery’s most recent show, 70 Years of Abstraction: Excerpts. The show displayed an abundance of work of debatable vigor. I thought there was a great conversation among works in the second room, focusing more on particular motifs in abstraction rather than just an overview of significant names. My personal favorites were the ones that consumed the viewer, yet truly gave them no option but to travel into their subconscious in the midst of artistic intentions or imagery. Abstraction heightens awareness of your retina’s preferences and can even evoke a physical reaction. I also like the ‘flash-back’ potential of abstract images. With less of a direct correlation to the visual world, the atmosphere and feeling surrounding the image encourages a cerebral slideshow. I also did want to give a shout-out to Sarah Mattes, who I couldn’t fit into the review but is doing some really exciting things with abstraction. Her abysmal mixed-media abstraction in the show consists of a handful of navy-blue materials layered within the frame. The monochrome interacts with the viewer, tempting them into the seemingly dangerous space of sharp angles and persistent corners. Mattes’s labor-intensive abstraction unveils an enthusiasm for new processes and methods of production in the modern age, and the triumphs still to be had over an ancient practice. This one’s for all the haters!

Here’s an excerpt of the article:

“An edition of Josef Albers’s Homage to the Square series is prominently displayed. The room also boasts an extremely underwhelming oil painting from Jackson Pollock before he was famous, ”Constellation” (1946) from the Accabonac Creek series.

A few lesser known forbearers of New York abstraction like Hedda Sterne and Charles Pollock keep each other company. The techniques are varied yet somewhat traditional and predictable. It was clear from this room that abstract art, as Rudolf Amheim wrote in his Toward a Psychology of Art, ‘tends to conceal the philosophical, religious, and social meaning of the individual’s life, to destroy the artist’s function in the community, and to reduce the task to a merely ‘aesthetic’ one.’”

FULL ARTICLE HERE.

Sarah Mattes, 'M mother,' 2011. plastic, wood, foam board, cardboard, paper, acrylic paint. 16 5/8 x 13 x 1 3/4"

Sarah Mattes, 'M mother,' 2011. plastic, wood, foam board, cardboard, paper, acrylic paint. 16 5/8 x 13 x 1 3/4"

Room 2, Wall 1, Jason McCoy Gallery

Room 2, Wall 1, Jason McCoy Gallery

Wall 2, Room 2, James McCoy Gallery

Wall 2, Room 2, Jason McCoy Gallery

Paul Pagk, 'OGLS 127,' 2010, Oil on linen, 25 x 24 inches

Paul Pagk, 'OGLS 127,' 2010, Oil on linen, 25 x 24 inches



The Fence between Language and Meaning…is Neon?

After taking a month off from Whitehot I’m coming back with a review of Joseph Kosuth’s show at Sean Kelly Gallery that closed at the end of April. The show was deliciously cerebral. I found myself revisiting each of the three pieces several times, squandering between the seemingly meaningless strings of text. I almost fell into Kosuth’s literary trap and gave up, foraging through the intellectual allusions I couldn’t place. This is exactly his point, however. Words and even images assume a certain degree of responsibility to their message, but what if we could extract something entirely new yet significant and relatable in itself? So it goes, the ceaseless battle between word and meaning. Here’s a small excerpt from the review:

“Kosuth calls upon the words of Samuel Beckett in the exhibition’s title work, Texts (Waiting for –) for Nothing (2011). Kosuth identifies with Becket’s incessant, Kafkaesque search for meaning. Waiting for Godot and the lesser known Texts for Nothing meld in a continuous stream of white light along the upper echelon of an ebony room. Kosuth exposes the waiting game of Vladamir and Estragon in Godot and their inability to break from the suspense. Uniformity, specifically the grey skies and “dim omnipresent light” in the text, summons a fear of plateauing and its subsequent mediocrity. Kosuth battles this paranoia aesthetically by denying the ability to see all the words in the installation simultaneously. He enforces an interaction with the room rather than a stationary viewing experience. The obligatory stroll also surrenders the body to Kosuth’s singular search for meaning. The audience looks up as if in praise or veneration to ennui. The concentric saunter attaches the viewer to the space. Repetitive reads allow memory to inject meaning into the words and inform the work through individual experience.”

FULL REVIEW HERE.

Joseph Kosuth, 'Ulysses, 18 Titles and Hours', 1998. neon, transformers

Joseph Kosuth, 'Ulysses, 18 Titles and Hours', 1998. neon, transformers

Joseph Kosuth, ''Texts (Waiting for-) for Nothing', Samuel Beckett, in play,' 2011. neon, transformers

Joseph Kosuth, ''Texts (Waiting for-) for Nothing', Samuel Beckett, in play,' 2011. neon, transformers

Joseph Kosuth, 'Titled (Art as Idea as Idea)', 1968. 10 mounted photographs each: 48 x 48 inches (121.9 x 121.9 cm)

Joseph Kosuth, 'Titled (Art as Idea as Idea)', 1968. 10 mounted photographs each: 48 x 48 inches (121.9 x 121.9 cm)



Two Old Guys Walk Into a Huge, Steel Oval…

I’m working on a review of Richard Serra’s current drawing show up at the Metropolitan Museum of Art. Naturally, Charlie Rose did a stellar (yet brief) interview with him yesterday that is worth sharing. If you take nothing else from this lecture, dear readers, take this one line:

“…great artists make up their own tools and make up their own procedures.”

Check it out here.

Richard Serra, 'Blank,' 1978, Paintstick on Belgian linen; 2 parts, each 10 ft. 1/4 in. x 10 ft. 1/4 in.

Richard Serra, 'Blank,' 1978, Paintstick on Belgian linen; 2 parts, each 10 ft. 1/4 in. x 10 ft. 1/4 in.

Richard Serra, 'Untitled,' 1972, Charcoal on paper; 29 3/4 x 41 1/2 in.

Richard Serra, 'Untitled,' 1972, Charcoal on paper; 29 3/4 x 41 1/2 in.



Joe Fyfe: Formal Third-World Assimilations

wood/cloth/color, Joe Fyfe’s current exhibition at Graham & Sons,  provides a thorough insight into the artist’s firmly abstract repertoire. The show considers recent sculpture, photography, and fabric paintings as reflections of his journeys to the third-world. Fyfe summons each village’s emotional and bodily accessibility emphatically. Each piece requires time and patience to decipher the stunning composition and devour each sensual component.

A handful of photographs illuminate Fyfe’s instinctual recognition of inadvertently artful compositions. ‘Palermo, 2000′ (2008) epitomizes the quiet beauty of these shots, announcing Fyfe’s attention to vivid colors, robust layering, and patterns. Despite his photographs’ natural depth, the combination of these motifs flattens the image and echos the tension of his fabric paintings. ‘Psar Thmei’ (2011), for example, is a jigsaw composition of gauze and cotton that demolishes the picture plane. The subtle textures of the cotton, the lines of glue melding each layer, and gentle puckers of the fabric mock the artist’s hand. Fyfe denies the idealization of paint and finds expressive gestures within his gathered palate of materials. The single gauze section allows the viewer to penetrate the piece as it fluctuates between sculptural object and painting.

Fyfe also presents weathered wood plank sculptures that lean precariously against the walls or hang by a loop of fabric, reminders of his fascination with poverty’s resourcefulness. ‘For Vann Molycan’ (2010) is a simple conglomeration of found wood and crimson felt that links the formal strength of the fabric paintings with evocative tactility. The scavenged materials are revitalized upon their introduction to the academic investigation of form and composition. ‘Pakbeng’ (2010) is a more conceptually urgent sculpture, consisting of a single gnarly plank of driftwood with two sashes of fabric fastened to the top. Fyfe sustains an open dialogue with vendors and artists of the third-world selling wares fashioned out of minimal resources. Be that as it may, this piece annunciates how close some of the sculptures come to a gimmick that is derived rather than inspired by poverty.

Each work in wood/cloth/color sustains Fyfe’s adoration of the tactility he continually discovers abroad. He implants an emotional resonance into his intellectual explorations, facilitating an semi-transcendent viewing experience. ‘Tanka fragment’ (2011), for example, summons the mysticism of a Mark Rothko painting and Matisse’s uninterrupted space skillfully. Each fragment of driftwood is incorporated into a similarly formal dialogue and is thus renewed. Although Fyfe’s yearning to capture the essence of the penniless is a stretch, he indubitably commends and channels their resourcefulness in this thoughtful exhibition.

((EXHIBITION THROUGH APRIL 23))

 

 

Joe Fyfe, 'Psar Thmei,' 2011, Gauze and cotton, 80x68 inches

Joe Fyfe, 'Psar Thmei,' 2011, Gauze and cotton, 80x68 inches

Joe Fyfe, 'Tanka fragment,' 2011, cotton and gauze, 35.6x51.4 inches

Joe Fyfe, 'Tanka fragment,' 2011, cotton and gauze, 35.6x51.4 inches

Joe Fyfe, 'for Vann Molyvann,' 2010, found wood and felt, 36x28x10 inches (approx.)

Joe Fyfe, 'for Vann Molyvann,' 2010, found wood and felt, 36x28x10 inches (approx.)

Joe Fyfe, 'Pakbeng,' 2010, found wood and cotton, 62.5x19 inches

Joe Fyfe, 'Pakbeng,' 2010, found wood and cotton, 62.5x19 inches

(photos courtesy of Graham & Sons)

 

Joe Fyfe, 'Palermo, 2000,' Pigment print, 2008, #1 of 5 11 X 14 3/4 inches

Joe Fyfe, 'Palermo, 2000,' Pigment print, 2008, #1 of 5 11 X 14 3/4 inches

(courtesy of Joe Fyfe)



Resurgence
February 9, 2011, 12:16 pm
Filed under: Uncategorized | Tags: , , , ,

I wrote this in January about a really great artist I discovered by the name of Seth Clark, who constructs mixed media homes that are masked in decrepitude.

Seth Clark, 'Abandoned IV,'  collage, colored pencil, pastel, charcoal, graphite on paper. 30'' x 21''
Seth Clark, ‘Abandoned IV,’ collage, colored pencil, pastel, charcoal, graphite on paper. 30” x 21”
Seth Clark, 'Abandoned IV' (detail)
Seth Clark, ‘Abandoned IV’ (detail)
Seth Clark, 'Roof,' pastel, charcoal, graphite on paper. 26" x 40"
Seth Clark, ‘Roof,’ pastel, charcoal, graphite on paper. 26″ x 40″

Seth Clark, 'Roof' (detail)
Seth Clark, ‘Roof’ (detail)

Seth Clark invigorates the decrepitude of deserted homes, granulated factories owing to oversight and communities tarnished by natural disasters. Despite their sorry states, his structures cling to the energy of his mark. Graphite fuses with collage and pastels while colored pencils congeal with charcoal and oil paint, sometimes all on the same canvas. His images prance like runners-up in a beauty pageant, defeated but unquestionably beautiful. The houses are seductively placed upon pristine neutral backgrounds. Clark targets the details of decay with great specificity and flaunts a variety of textures. Dark lines transform into spliced wires and derailed balconies. Structures pause mid-crumble. The multitude of media allocates distinct characteristics of each home. A bold stroke of brick-red pastel contrasts slender, colored-pencil cross-hatching in ‘Abandoned IV,’ for example. The image is rich, honoring the home’s structural backbone while recognizing the chaos of decay’s thoughtlessness. As each layer of media is decoded, momentum builds and sustains a brisk pace of viewing that mimics the painfully slow degradation of these human incubators.

The entrancingly deep mark of Clark’s work spans from heavily opaque to delicately sinuous. His lines are animated, contained within the confines of the home, yet completely rampant within it. A minefield of tangible planks and tarnished slabs of roof descend with the majesty of an avalanche. Strokes of coral or cerulean-blue grace many of the dilapidated structures, contributing a softness to their reckless facades. Despite decomposition they resist disappearance with revived poise. Clark rouses a conversation regarding details and their importance as such. When elemental components like a toilet or staircase are eclipsed by evidence of residential life, a house has officially become a home. Fragrant kitchens, a wreath in the foyer, and an heirloom bedspread constitute a home; without, a house is nothing more than a skeleton. An inverse phenomenon occurs with Clark’s neglected frameworks. They occupy a position past the point of repair.  Depreciated structural elements dismiss the house, condemning it to abandonment.

Clark delves into the evanescence of the home by exploring function and evolution of the structure. His isolated, deserted homes expose the true pointlessness of forsaken architecture. ‘Roof,’ for example, depicts three disheveled alcoves upon the slope of a destroyed rooftop. The rotting roof is no longer functional but decorative . ’96 Houses’ expands upon the function of the home’s backbone in simplified terms. The hundred-page, hand-bound book contains a reduced drawing of a house on each page. The archetypal square with an equilateral triangle on top is the foundation of each image. Utilizing both interior and exterior elements, Clark plays with the functionality of the structure and the transformation of physical components. They range from aesthetic renderings to theoretical constructs. The symmetrical frame speaks to a number of scenarios including the guise of a jack-in-the-box, a snow-framed cave, a jail cell, a stuffed package secured with taut string, and a circus tent, among other things. Clark exhausts the associations one makes in the most basic rendering of ‘home.’ Some sketches are obscure and fantastical, inciting laughter and endowing the homes with a cartoonish invincibility. Black liquid drains through a small hole from a house filled up to the top like a glass of milk in one drawing; another depicts a house jumping off the page with the assistance of a trampoline. Although conceptions of home are grounded in physical presence, their true nature is as imaginary as it is concrete. Home is a foundational concept that facilitates learning and experience. Home morphs into a vessel capable of nourishing and preserving its residents, sculpting one’s outlook according to the framework.

A house, in Clark’s work, is a skeletal structure providing vague clues to the past without any hope of future revival. Bleak, darkened interiors with shrouded furniture and crunched boards are abrasive remnants of activity. Despite their desertion, the house’s potential whispers through the floorboards. ‘Abandoned XI’ reveals a freshly abdicated location with large peep-holes on the facade. The open wounds reveal the rampant plague of rejection. Clark’s images mourn the demise of these used and abused structures. His houses’ sluggish implosion pronounces their impermanence. The value of the structure dissipates with the memories in a dreadful crumble, reduced to the meaningless framework at the mercy of a new spectrum of elements.

Seth Clark, excerpt from '96 Houses,' hand-bound 100 page booklet. Edition of 96.
Seth Clark, excerpt from ’96 Houses,’ hand-bound 100 page booklet. Edition of 96.
Seth Clark, excerpt from '96 Houses,' 100 page hand-bound booklet. Edition of 96
Seth Clark, excerpt from ’96 Houses,’ 100 page hand-bound booklet. Edition of 96
Seth Clark, excerpt from '96 Houses,' 100 page hand-bound booklet. Edition of 96
Seth Clark, excerpt from ’96 Houses,’ 100 page hand-bound booklet. Edition of 96
Seth Clark, excerpt from '96 Houses,' 100 page hand-bound booklet. Edition of 96
Seth Clark, excerpt from ’96 Houses,’ 100 page hand-bound booklet. Edition of 96
Seth Clark, excerpt from '96 Houses,' 100 page hand-bound booklet. Edition of 96
Seth Clark, excerpt from ’96 Houses,’ 100 page hand-bound booklet. Edition of 96
Seth Clark, 'Abandoned XI,' found paper, pastel, charcoal, graphite on paper
Seth Clark, ‘Abandoned XI,’ found paper, pastel, charcoal, graphite on paper
Seth Clark, 'Abandoned XI' (detail)
Seth Clark, ‘Abandoned XI’ (detail)



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