In the new paintings, two gradient fields of colour are juxtaposed, creating a picture within a frame. The images suggest both heavenly and hellish vistas, evoking everything from the clouds in a Botticelli painting to the screensaver on an iPad. While the gradient fields suggest depictions of space and the changing times of day, they are also a visual metaphor for transitioning psychological states.
Abstraction/Figuration surveys two distinct bodies of work by American artists Joe Bradley and Sterling Ruby. The exhibition displays examples from Bradley’s iconic ‘Robot’ painting series, alongside Ruby’s enigmatic ‘Alabaster’ works. While starkly different in appearance, these two bodies engage with legacies of Minimalism in different ways. Bradley’s seemingly primitive figurations of monochromatically rendered canvases stand like bathetic monuments to modern painting. The shapes are at once infantile and domineering, reminiscent both of colour-field painting, and the building-block aesthetic of arcade video games.
Tabor Robak’s work employs computer generated imaging to create videos of invented worlds. Working in programs including Unity, After Effects, Photoshop and Cinema 4D, the artist explores a secondary, digital reality, rendered in what he refers to as a “Photoshop tutorial aesthetic” or a “desktop screensaver aesthetic.” His meticulously produced and filmed environments are cobbled together from sources both sampled and hand-modeled. The works are appropriative, both in their subject matter and aesthetic, using elements purchased and then edited for his purposes. They adopt the visual vocabulary of contemporary video games in order to isolate and comment upon digital space as an abstract fact, while simultaneously pushing up against the increasingly tenuous separation between perceptions of the digital and the real.
Through January 19th 2014 Lucas Arruda, Antoine Catala & Dan Graham, Robert & Trix Haussmann, Bernard Piffaretti, Vanessa Safavi, Michael Wilkinson More
Matthew Marks is pleased to announce Brice Marden: Graphite Drawings, the next exhibition in his gallery at 523 West 24th Street.This exhibition includes twenty-five of Brice Marden’s seminal early works on paper and is the first exhibition devoted solely to this body of work. The drawings, made between 1962 and 1981, feature luxurious surfaces of graphite and beeswax worked into dense, reflective planes of blacks, whites, and grays. Within these surfaces, Marden reveals the underlying geometries of the rectangle and the grid, a formal strategy that has characterized his work from the 1960s to the present.
Ericka Beckman & Mike Kelley, Nicolas Ceccaldi, Karl Holmqvist, Lucie Stahl
Cities of chrome, perpetual motion machines. All prying objects, all things striving to trespass are diminishing. All that has reached beyond the tactile senses to the abstractions of sight.
(...)
These are the mysterious incantations of an alien sexuality.
In the summer of 2013, Wulff arrived in America from his native Germany intent on realizing a series of large-format oil paintings at a remote desert studio in Chambless, California- a ghost town of less then 10 residents along a strip of the well known, but seldom traveled Route 66 highway. Working in an abandoned gas station, Wulff completed a number of watercolor studies in Chambless before retreating to a more conventional painter's studio in Los Angeles after encountering numerous conflicts with his materials due to arid, high desert winds. Although finally completed off-site from the artist's rural training facility, the oil-based works that eventuated in LA were nonetheless informed by Wulff's hermetic sojourn to Chambless, where he cultivated an interest in exploring the quintessence of desert qualities like passivity, silence, recalcitrance, egolessness, vacuity, tranquility and even boredom.
‘The best art is like sitting in a bath full of coconut scented bubbles while you check twitter on your iPhone 5S, listening to that one Gotye song about how you used to know somebody or whatever. You don’t have to think about it, you just kinda feel it and maybe you even smell it’
Harry Adams, Animal Charm, Paul Cherwick, Karin Gulbran, Emilie Halpern, Violet Hopkins, Marina Kappos, JP Munro, Bill Owens, Jon Pylypchuk, Amanda Ross-Ho, Robert Wechsler, Eric Wesley, Pae White, TJ Wilcox, Eric Yahnker
The structure for Aldrich’s upcoming show is that of two distinct parts. The first, opening November 8th, will be on view for a week and a half, after which a second show will open on November 19th and run through the end of the month, and then back to the first show for the remainder of the exhibition, closing December 21st.
MARK BARROW, SAM FALLS, JOHN HOUCK, CHARLIE JEFFERY, KITTY KRAUS, GABRIEL OROZCO, JOEL OTTERSON, SETH PRICE, CHADWICK RANTANEN, MONIR SHAHROUDY FARMANFARMAIAN
This time Michael Williams presents a dozen new paintings, crafted largely with the help of digital technology. The "paintings" are drawn in a computer and printed on canvas, then stretched, and often painted some more. The images are freely associated constructions often involving landscape plus figuration plus wit or whim. Mr. Williams has a great gift for making images that never should have been executed or even imagined. The works are less surreal as they are non-real or simply wrong. There is power in harnessing wrong in such definitive and thorough proportions.