GOLNAZ FATHI – LINE | KHAT

Posted on 2017-01-23

Line | Khat, is a solo exhibition by Golnaz Fathi that explores the relationship between experimental calligraphic mark-making and non-traditional mediums. Golnaz’s approach to abstraction in calligraphy, and signature style of visuals created through indecipherable lettering, has expanded to include non-traditional media such as ballpoints and rollerballs. Through this series, Golnaz explores an intimate narrative through the practice of diary keeping.

Opposite – Untitled, 2016

Exhibition runs through to January 28th, 2017

The Third Line
Al Quoz 3
Po Box 72036 Dubai
UAE

www.thethirdline.com

  

IVAN MORLEY

Posted on 2017-01-23

Morley’s embroideries, paintings, and works on glass are uniquely American. They come from a tradition of West Coast American painting that developed a distinct visual language of its own, generated as a countercurrent to European traditions. Like Jim Shaw, Mike Kelley, and Paul McCarthy, Morley’s oeuvre is fueled by Americana. These artists draw from a wide range of sources: comic book culture, punk and altrock music, and 1970s psychedelia. These references, piled atop each other, take part in so-called “clusterfuck aesthetics,” juxtaposing pop imagery with emblems of varied American subcultures. Rat Fink,
Kustom Kulture, African masks as tourist tchotchkes, Indonesian-inspired batiked tapestries that adorn college dorm rooms, and pot smoke’s purple haze. These visual touchpoints emphasize this country’s counter-cultural heritage as folkloric fodder.
The specific narratives that Morley references; A True Tale and Tehachepi, (sic), refer to anecdotes that Morley has painted many times over, culled from memoirs of the old west. The stories recount southern California in its nascency; the former involving an entrepreneur who made a fortune shipping cats to a ratinfested city, and the latter about native family life in a town where the wind was so strong it could alter the trajectory of a bullet. But the precise subject, origin, or narrative of each tale is hardly the point. Rather, he renders visual elements along each story’s periphery, allowing a single detail to shift and mutate via paint and thread.

Opposite – A True Tale, 2016

Exhibition runs through to February 18th, 2017

Bortolami Gallery
520 W 20th Street
NY 10011
New York

bortolamigallery.com

  

JEREMY MOON

Posted on 2017-01-23

Moon (1934–1973) is best known for his large-scale geometric paintings that explore form and space through unmodulated planes of color. He emerged onto the London scene in the early 1960s amidst the framework of Color Field and Hard-Edge Abstraction. Like many artists of this period, Moon sought a degree of wholeness within his compositions, creating works where painted geometries found affinities with the canvas’s overall shape. His use of the grid as a structural device was central to his working method; its rigid organization, yet flexible expandability, allowed him to bracket fields of color in a manner that was exploratory and effectual. Moon shrank, enlarged, skewed, and folded the grid across numerous works in his efforts to reveal ambiguity in pictorial space.

Moon’s singular visual language is informed by his long-standing interest in dance and choreography. His work is saturated with rhythm-generating patterns and shapes with inherent directionalities, together forming a perceptible movement that subverts the static quality of painting. Such tensions are evident within his Y-shaped paintings, whose concentric bands radiate outward, only to reverberate back again after negotiating with the canvas’s edge. Similarly, other works enact the push and pull of receding and protruding space as he juxtaposes flat, geometric forms alongside their perspectival counterparts. Despite the meticulous precision of Moon’s paintings, subtle asymmetries deliberately destabilize the unity of his compositions, further challenging an austerity often associated with geometric abstraction.

Opposite – Garland, 1962

Exhibition runs through to April 16th, 2017

Luhring Augustine Gallery
25 Knickerbocker Ave
Brooklyn
NY 11237

www.luhringaugustine.com

  

JOE BRADLEY

Posted on 2017-01-16

At Peder Lund, Bradley will display a closed-form minimalist sculpture. The work calls to mind the artist’s ‘modular paintings’, exhibited at the Whitney Biennial in 2008 – layers of acrylic on cheap pre-stretched Fredrix canvases, mounted to the wall so that they resemble experiments in Minimalism. The single-panelled monochrome paintings were stacked together to depict people, animals, places and objects, and communicate an overall sense of theatre and movement, and almost possess a personality. The sculpture on view shares the modular paintings’ spatial presence. Although both series may seem to be operating in a light slap-dash mode, they in fact reflect a thoughtful attention to the history of art, and particularly the study of colour. They demonstrate the visual range achievable through presenting colours alone or juxtaposing them in infinite combinations. Like a monolith, the sculpture brings this painterly chromatic quality to ground level, facing the viewer directly while powerfully repressing the surrounding space.

Exhibition runs through to February 11th, 2017

Peder Lund
Tjuvholmen allé 27
N-0252 Oslo
Norway

pederlund.no

  

DAN ATTOE – NATURAL SELECTIONS

Posted on 2017-01-16

In the depiction of the vastness, power, and melancholy of nature’s landscapes, Natural Selections continues to explore Attoe’s signature themes. These new paintings capture the wild and chaotic topography of the Northwest coast of America; some of the imagery is culled from actual locations, others are a total fiction created instead from memory, impression, and a fusion of several environments the artist has traveled to over the years.

Loose brush strokes and prominent drips characterize these landscapes with more soft focused edges as Attoe experiments with the boundaries of freedom and self-control in representational painting. Attoe’s masterly techniques for constructing depth and space come to the fore as the artist commits himself to representing the complexity and subtlety of nature’s tones, in keeping with his ongoing dedication towards blue.

Diminutive human figures look off over infinite expanses of water, drift through the forest or float on the tides, their small and detailed bodies juxtaposed by monumental trees, mountains, or shores. Yet they remain disconnected from their sublime surroundings, instead consumed by interpersonal tensions and anxieties about themselves, speaking lines to everyone and no one at all. It rather seems that these fragile subjects are but ghosts passing through the natural world that engulfs them, their presence and thoughts a fleeting moment. Even in the absence of people, the words ‘Free Time’ and ‘Free Money’ float up from the forest with the fog, two of our troubled currencies set against the mist.

Opposite – Visitor Center with Pines, 2016

Exhibition runs through to February 24th, 2017

Peres Projects
Karl-Marx-Allee 82
10243 Berlin
Germany

peresprojects.com

  

PAUL MCCARTHY – RAW SPINOFFS CONTINUATIONS

Posted on 2017-01-16

These most recent works in the artist’s major ongoing project ‘White Snow’ vividly illustrate the roles that repetition and variation play in his oeuvre. McCarthy’s 2013 video installation at the Park Avenue Armory ‘White Snow’ is the modern interpretation of Walt Disney’s beloved 1937 animated classic film ‘Snow White and the Seven Dwarfs’, in which the original stories’ archetypal narratives are pitched against real human drives and desires. McCarthy’s original sculpted clay dwarves were altered and distorted variations of Disney’s Seven Dwarfs. Even in their original iterations, McCarthy’s clay figures possessed additional layers of abstraction as a result of having been sculpted and re-sculpted via the artist’s frantic and impulsive performative process. They were subsequently cast in silicone (2010 – 2012), and although those richly colored versions are not included in ‘Raw Spinoffs Continuations’, they are integral manifestations of the journey that has produced this remarkable body of work to date. The process of silicone casting abstracted the original clay sculptures further, so that a second casting in bronze have acquired a new degree of rawness and pathos. Presented en masse, McCarthy’s bronze and clay dwarves reveal the artist‘s engagement with the life cycles of materials and together elicit meditations upon time, mortality, and the role of art in a realm of thought beyond the limits of flesh.

Opposite – White Snow Dwarf, Bashful (Affected Original), 2009—2016

Exhibition runs through to February 11th, 2017

Hauser & Wirth
32 East 69th Street
New York
NY 10021

www.hauserwirth.com