KATHLEEN WHITE – (A) RAKE’S PROGRESS

Posted on 2014-08-18

The exhibition, (A) Rake’s Progress, is comprised of the complete polymorphichrome drawings produced by Ms. White outdoors in the summer of 2009. The cycle of pastels on paper, a progression numbering 71 works, were created in remembrance of Ms. White’s late brother Chris White.

Chris’s suicide of 2007 was unreconcilable. Gripped by the shadow of loss, I spent a year studying the colors in my Ludlow Street courtyard —the wild garden was transformed from a derelict garbage heap by Rafael and myself. Knowing also that the garden would soon be lost to the high rents plaguing our city -as “the lost decade”, “the fear decade”, “the greed decade” turned 9 -this physical exploration of color through its endless grinding, its proliferating combinations and intense contact onto the page is at once a stance of grace and defiance against the all the world’s insults.

The “glut” of information which prevails over the pursuit of knowledge and feeling in modern times is of particular distress to Ms. White who often utilizes the phrase, “Get out of the way, hobo!” to refer to the state of our present culture’s pervasive, implosive, subtly celebrated, corrosion of empathy. As in the artist’s earlier installations over the past three decades this presentation is in keeping with Ms. White’s practice of creating spaces of reverence, connection and love.

The choice of the pastels was made during a conversation with Mr. Sánchez, “I want this to be an installation of color and sound.” The two artists who have collaborated on numerous acclaimed projects looked to this body of work that has lain dormant for five years. The inclination toward sound comes from a more recent body of work by Ms. White, Sound Texts, which will be represented by the recorded sounds of her instrument of choice during their production: the typewriter.

Exhibition runs through to August 31st, 2014

Momenta Art
56 Bogart Street
Brooklyn
New York
NY
11211

www.momentaart.org

  

MARA SOLA – BORDERLINE

Posted on 2014-08-11

Sola’s is a world of startled, confused, and alienated reality. A world of a nomadic life with cycles of transience reflected in the impermanence of time and place. Natural order has been removed, and in its place the often-solitary subject is left to disquiet, questioning, and inevitability. Sola penetrates right to the core of what it is to be filled with the beauty of bare solitude. Her connectedness with the natural world and exploration of how this world interrelates with itself become a ground of encompassing unity. There is no promise of a better world. Instead Sola provides a reality that imbues her subjects with a fragile strength and dignity that stem from the direct address of otherwise negative elements of separation, loss, and implied tragedy.
Sola’s subjects find themselves stripped down with minimal signifiers that act as a form of secondary, introspective narrative. Subjects sit suspended; past and future are implied with an overarching intensity that displays the fragility of life lived in the present. It is left to the viewers’ awareness of this passage of time, or the illusion of time, to produce an anxiety that permeates Sola’s works.

This work is sensitive, often introverted, with a hugely imaginative tilt at what is real and what is merely a manmade construct. Her sense of unreality and isolation rebel against any given role, and follow the heart. Emotion is intense and a gateway to the world of the romantic visionary. Sola’s work shows that it comes from an inner demand for self-expression with a hidden scream of “I am here, come find me” clothed in a sensitivity and unique perception in which lie endless realms of what is possible when constraints are removed, and the perpetual outsider is given rein.

Opposite – Inner glow, 2012

Exhibition runs through to September 29th, 2014

Negativa Moderna
16930 SW 134th Avenue
Archer
Gainesville
Florida
FL 32618
Florida

negativamoderna.org

  

IAN WHITTLESEA – A BREATHING BULB

Posted on 2014-08-11

A single bulb in the centre of the space repeatedly fades up to an intense brightness and back down to black. The slow pulse of the bulb is that of meditation and transformation, the light strengthening in the same way that an abdomen rises during inhalation and then dimming as it falls during exhalation. During the day it is quietly present but at night it transforms the gallery into a lighthouse, visible from the street below.

With this new work Whittlesea continues his examination of how conceptual art can directly change the physiological and psychic state of the viewer. It is an extension of his exploration of the esoteric Mazdaznan breathing exercises that artist Johannes Itten taught at the Bauhaus, the renowned art school founded by Walter Gropius in Weimar.

A Breathing Bulb also relates directly to a sentence taken from the writings of scientist and alchemist Isaac Newton that Whittlesea has used as the basis for one of his recent series of text paintings:

The changing of bodies into light, and light into bodies, is very comfortable to the course of Nature, which seems delighted with transmutations.

Exhibition runs through to September 6th, 2014

Marlborough Fine Art
6 Albemarle Street
London W1S 4BY
United Kingdom

marlboroughcontemporary.com

  

AMANNY AHMAD – PERPETUAL MOTION

Posted on 2014-08-11

This exhibition of new work spanning a range of media, which explores concepts of universality and flux within cultural systems of language and commodity. Through photography, painting, and found objects, the meanings of iconic symbols within economy-based societies are investigated and framed for the viewer to reconsider. Whether found in the ubiquitous athletic swoosh, or in a simple kinetic gesture that resists classification and economy, such as pouring, pulling, or massaging, the universality of these symbols is clear. In this simultaneously expanding and shrinking world, the rate at which things change is immeasurable, and this is especially evident in rapidly transforming systems of language. These works lend the viewer an opportunity to meditate on signs that are embedded into the developed language of human exchange. Photographs serve as a vignette through which one can approach minimal sculptural representations of the universal qualities of being.

According to Aristotle, motion is understood as any kind of change, or, the actuality of a potentiality. Still images posses a kinetic energy through their capture of the essence of motion, or the possibilities of motion. In these photographs, motion is unavoidable, as it is found in the squeeze of a bottle, or more subtly in the growth of a cactus over time. The movements and growth of systems of language (spoken, physical, visual) through time are directly related to the transience of the cultures they serve. These forms of communication are in constant flux, as are the meanings we come to identify with the wordless images and gestures we experience. These paintings, utilizing airbrushing and decals, become amalgamations of colors, signs, and icons, re-appropriating bootleg imagery in yet another form. These transformations of icons across media are further evidence of the perpetual nature of motion and change within systems of language.

Exhibition runs through to August 30th, 2014

Slow Culture Gallery
5906 N. Figueroa St
Los Angeles
CA 90042

slowculture.com

  

SLOW LEARNER

Posted on 2014-08-04

The group exhibition Slow Learner, curated by Andreas Leventis, brings together a selection of artists who variously employ text, signs, symbols, and photographic images across a range of media to examine the gap between reading and comprehension.

Where outside the realms of art one might typically expect a graphic aesthetic to communicate a concise message or instruction – be it a road sign, a manual, or a restaurant menu – the works featured in this exhibition instead use defined and direct visual language to playfully subvert, withhold, or disavow meaning altogether.

Featured artists – Ghada Amer, David Austen, John Baldessari, Marcel Broodthaers, Matthew Brannon, Alistair Frost, Susan Hiller, Clive Hodgson, Jessica Jackson Hutchins, Jonathan Lasker, Charles Mayton, Ed Ruscha, Joel Sternfeld and Lawrence Weiner.

Opposite – Susan Hiller, ‘So Don’t Let it Frighten’, 1975/81

Exhibition runs through to August 23rd, 2014

Timothy Taylor Gallery
15 Carlos Place
London
W1K 2EX

timothytaylorgallery.com

  

EVERYTHING AND NOTHING

Posted on 2014-08-04

The perception of the fourth dimension explored by the exhibition Everything and Nothing is not transcendental, analogue-spatial or temporal dimension, but is rather determined by current social, political and cultural dimensions and uses the avant-garde tradition as a meta-language which progresses from everything to nothing, which equals everything by purifying artistic activity until it becomes a clear, engaged statement, still determined by the restrictive parameters of our actions. Although it is unlikely real change will occur, the fact that we can engage with the idea brings us closer.
When Ilya Kabakov created The Man Who Flew into Space from his Apartment (1988), he was not concerned with utopia. Individual re-appropriation freed the cosmic dream from being closed within the system and re-established its primary essence – an essence which is not fixed, has no definite form and is not institutionalised, and whose genuineness can only be collective.

Based on these parameters, the exhibition presents a collective urge for change, or a possibility of change, in all its vitality, independent of image transfer and original context, which goes beyond imitation and appropriation.

Opposite – Timofey Radya, Figure #1: Stability, 2012

Exhibition runs through to September 7th, 2014

Galerija ŠKUC
Stari trg 21
1000 Ljubljana
Slovenia

www.galerija.skuc-drustvo.si