ALLAN MCCOLLUM – WORKS: 1968–1977

Posted on 2017-04-03

Works: 1968–1977 brings together, for the first time in New York, one Bleach Painting, five Constructed Paintings and a number of late 1960s pieces: all anticipate McCollum’s future work as much as they suggest the nature of his artistic practice at the outset of his career.

Allan McCollum was born in 1944 in Los Angeles, California, and lives and works in New York City. His work is also on display in Lost Objects at Mary Boone Gallery, New York from March 4th – April 22nd.

Opposite – Untitled, 1971

Exhibition runs through to April 29th, 2017

Petzel Gallery
456 W 18th Street
New York
NY 10011

www.petzel.com

  

ROE ETHRIDGE – AMERICAN SPIRIT

Posted on 2017-04-03

In Ethridge’s photograph Untitled (American Spirit), 2017, a foreground of blurred roses gives way to a familiar scene of warm light emanating into the night from a window. As it comes into focus, tranquility is soon disrupted by Chinese characters, the after-effect of a computer batch edit, and the house is a backdrop, photographed in between takes on a fashion shoot. This acknowledgment of artifice is central to Ethridge’s practice, which takes equally from his work as a commercial photographer, and artist. Employing photographic tropes that span from still lives to portraiture, Ethridge blurs the lines between the two, creating images that are simultaneously generic and intimate, often treading between humor and cynicism. Functioning in tandem, these motivations coalesce into an ongoing investigation into the mechanics of photographs, and their ability to both retreat into the personal, and expand to relay collective experiences.

In a new series of collaged works titled Pic n’ clips, which borrow their name from a drawer of coupons cut and collected by the artist’s mother, Ethridge pulls from computer desktop archives of the same name built over the past 12 years. Contrasting this slow accumulation, blank swaths of photoshop canvas were populated in a task-like manner, generating nearly accidental networks of images. Printed in transparent layers, and further embellished with rich hues and flattened American Spirit packs, the works create new and unanticipated associations, as images follow the chronological sorting mechanism of the computer.

Opposite – Pic ‘n Clip 5, 2017

Exhibition runs through to April 8th, 2017

Andrew Kreps Gallery
537 West 22nd Street
New York
10011

www.andrewkreps.com

  

JOHANNES KAHRS – EMBRACE

Posted on 2017-03-27

Kahrs is best known for his evocative paintings in which he explores the duality of images, both as representations as well as constructions. His process begins with a photographic source taken from various forms of mass media, advertisements, or personal snapshots, which he recreates and alters on canvas. While he rarely reveals the sources of his imagery, his paintings are imbued with echoes of their original context. The resulting ambiguity allows him to suspend meaning, leading his audience to question not only what is portrayed, but moreover the circumstances of the image at the time of its creation.
The exercise of power through representation serves as an important counterpoint to Kahrs’s imagemaking process. His paintings are often suffused with undertones of violence, death, and sexuality, where the body appears in mysterious and equivocal situations. His interests, however, lie within capturing moments of fluidity and elusiveness as opposed to something fixed or overtly political. In this obscure territory, an embrace can alternatively be construed as brutal force. As Kahrs endeavors to relinquish control over the image, he seeks to encounter something unexpected or accidental, creating enigmatic works that verge on the brink of familiarity.

Opposite – Girl with mask, 2014

Exhibition runs through to April 22nd, 2017

Luhring Augustine
531 West 24th Street
New York
NY 10011

www.luhringaugustine.com

  

GILLES BARBIER – ARTIST IMPRESSION

Posted on 2017-03-27

Gaël Charbau : Almost all your works belong to programmes, ideas, statements that you invent and that result in multiple series. If one day we were able to outline the cartography of this true galaxy, it would allow us to comprehend all the connections gathering your works in one and the same world. You are now presenting a nascent series from within this universe which is entitled « Ce qui est sorti du chapeau aujourd’hui » (What was pulled out of the hat today). Can you detail the underlying principle?

Gilles Barbier : The hat is the head, and today a clock’s frequency. As is often the case, the idea is to combine the power of doing with a freedom which can contradict the approach, often accompanied by a heavy, hackneyed and discriminating lexicon. In order to do this, I devise strategies to trigger a bursting within a given frame, where each fragment can subsequently be garnered. I call this principle a production machine. Combining machine and subjectivity is something that has troubled me for a long time now, at least since AI has allowed to clarify this interaction. Ce qui est sorti du chapeau aujourd’hui acts as a production machine and therefore I don’t need to be preoccupied about the objects it produces, only to be attentive and dedicated.

Opposite – Exhibition view

Exhibition runs through to April 22nd, 2017

Galerie Georges-Philippe & Nathalie Vallois
33 & 36, rue de Seine
75006 Paris
France

www.galerie-vallois.com

  

AYA TAKANO – THE JELLY CIVILIZATION CHRONICLE

Posted on 2017-03-27

The artist will exhibit a selection of 26 paintings and several drawings on celluloid, all preparatory studies for a 186-page manga, unveiled here in its entirety. A painter, illustrator, sci-fi writer and manga artist, Aya Takano belongs to Kaikai Kiki, the artistic production studio created in 2001 by Takashi Murakami. Inspired by all art forms, from erotic stamps of the Edo Period to impressionism, from Osamu Tezuka to Gustav Klimt, the artist has built a universe all her own. A universe made of infinite worlds, all means of escaping reality, gravity and its restraints, to attain a certain form of transcendence imagined from the youngest age:

“When I was a kid, I daydreamed and stayed in my fantasy land by reading books and mangas all the time. I hated most designs of devices and buildings and I still do. I aspired to freedom of spirit and I was very different from others. I still want to be like that, but I’m not able to…”

Aya Takano’s inner journeys wind their way into delicate works that convey a disturbing impression, somewhere between eroticism and impertinence. In a bedroom or in the metro, in front of the skyscrapers of a megalopolis or on the moon, naïve and androgynous girls are sketched out in thin, sharp lines. They have wide-open eyes encircled with black, long legs and lips like rosebuds. Often nude, draped in kimonos or dressed in the latest Tokyo fashions, these young women talk to each other, kiss each other, touch each other. Their knees or elbows are reddened, attesting to their extreme sensitivity. They float, fly above the clouds and communicate with their peers or with exotic animals, sometimes misshaped, always in partnership.

Opposite – The Adventure inside, 2015

Exhibition runs through to May 13th, 2017

Galerie Perrotin
76 Rue de Turenne
75003 Paris
France

www.perrotin.com

  

STACEY STEERS – EDGE OF ALCHEMY

Posted on 2017-03-20

Edge of Alchemy concludes a trilogy of films including Phantom Canyon (2006) and Night Hunter (2011) that examine the psychological terrain of women’s inner worlds. By way of a painstaking and labor-intensive process, Steers assembled over 6,000 handworked photo collages, re-imagining American silent film actors Mary Pickford and Janet Gaynor in a phantasmagoric narrative of creation and monstrous hybridities inspired by Mary Shelley’s Frankenstein. Fragments of historical etchings and photographs are combined to construct surreal settings: dreamlike topographies where barren fields are covered with dead bees and chartreuse flowers, and dark recesses where laboratories lost in time are outfitted with strange ironwork and ominous red beakers. Steers’ collage technique is layered, intimate and suggestive, and the fantastastical lifeworlds her collages embody reflect upon “the way we process experience and form memories subliminally,” as noted by the artist. Edge of Alchemy also reveals the startling emotional immediacy in early silent film performances by lingering over “fleeting expressions and extend(ing) them in a way that” richly expands what Steers cogently defines as “a state of interiority.” The film is accompanied by an original score by Lech Jankowski (Brothers Quay) and will be screened in its entirety during the exhibition’s run.

Exhibition runs through to April 15th, 2017

Catharine Clark Gallery
150 Minna Street
Ground Floor
San Francisco
CA 94105

cclarkgallery.com