RICHARD JACKSON – THE LITTLE GIRL’S ROOM

Posted on 2011-09-19

The Little Girl’s Room, an exhibition of new work by Richard Jackson. His first solo gallery exhibition in Los Angeles in 20 years, the show is a significant milestone for an artist whose work has continually expanded and redefined the physical and conceptual reach of painting since the 1970s.

The work’s centerpiece is a monumentally-scaled sculpture of a unicorn balanced on its horn, embraced by a life-size sculpture of a strangely doll-like little girl, that spins atop a motorized platform. Like many of the objects that Jackson has developed over the course of his career, the piece will be activated at the time of its installation in the gallery space. As it spins, paint will be pumped through the horse’s genitals and spray and drip across the other elements of the installation. These include the large-scale canvases that depict fluffy clouds and geometric forms borrowed from Frank Stella, as well as an array of other objects that feel at once familiar and disturbingly out of place in the context of a child’s room.

The sculptural figures that serve as both sources and supports for paint represent extremes of physicality in which the infantile and the archaic resemble each other. A larger-than-life Jack-in-the-box will be draped over one of the gallery’s trusses, and when activated will emit paint downward from the pointy tip of its hat; a hobby horse, its head lodged in a bucket of paint, will rock back and forth, dumping the bucket’s contents onto the floor around it; a sculpture of a baby will sit with a collection of baby bottles, filled and overfilled with paint; and, half-hidden in a closet, a comically aroused clown will communicate an aura of unsuccessfully repressed sexuality.

Exhibition runs through to October 20th, 2011

David Kordansky Gallery
3143 S. La Cienega Blvd
Unit A
Los Angeles
CA 9001611

www.davidkordanskygallery.com

  

RICHARD PRINCE – THE FUG

Posted on 2011-09-19

Prince’s art frequently takes as its subject peripheral aspects of American culture, both high and low, and transforms them into a medium. Whether “Borscht Belt” jokes, car and motorcycle enthusiasm, pulp-literature or celebrity, his material is sourced from the underbelly of society. Prince takes aim at the vulgar, revealing culture’s indiscretions—misogyny, consumerism, exhibitionism and idealized desire. However, as a critique it is ambiguous in that it is accompanied by an equal dose of sympathy and obsession. That said, Prince is not confined to the low. He is equally versed in the high art of de Kooning, Pollock and Picasso, not to mention literary tradition. As Robert Rubin writes “He appropriates an era and makes something that resonates differently for different people. The beauty of Richard Prince’s art is that it doesn’t have limits.”

Prince is an avid collector and curator of Americana. In selecting or regroupings images, whether they be rephotographs of advertisements of luxury pens, living room sets, the Marlboro Man, or forged publicity photographs, extracting them from their source, Prince elevates them to the status of fine art. Having been sourced for his palette, Prince’s subjects are recycled to fit into the framework of the artist’s diverse repertoire.One may consider, for example, the title of this exhibition, which references the lesser-known American band The Fugs, founded in the early 1960s. Noted for their participation in the anti-Vietnam movement and alternative intellectualism, they were also allied closely with the Beat Generation, another of Prince’s longstanding references. The band can be found in the series Untitled (1,2,3,4), which groups together images in a gang-like fashion.

Opposite – Untitled (Oh), 2009

Exhibition runs through to October 8th, 2011

Almine Rech Gallery
20 Rue de L’Abbaye Abdijstraat
B-1050
Brussels

www.alminerech.com

  

JOHN RITTER – WORKED UP

Posted on 2011-09-12

Ritter’s politically and emotionally charged works utilize the vernacular of the information age to create vibrant images of politics, celebrity, crime, and catastrophe.
By exposing the inherent anxiety of today’s world, these subversive works fashion unseen relationships and contexts through humor and clever juxtaposition. Ritter’s works are simultaneously complex and accessible, offering new political as well as artistic
possibilities.

Ritter studies and sources potential subjects from found photographs then manufactures compositional elements by layering and combining his own original photography to make a fabricated context in which the subject matter exists. His work exists in its purest form, as a digital configuration, that has been appropriated, reconfigured and recycled into a form that is humanly expressive, provocative and consumable.

Opposite – Mistress’s Daughter, 2011

Exhibition runs through to October 9th, 2011

Lyons Wier Gallery Project Space
175 7th Ave
New York
NY 10011

www.lyonswiergallery.com

  

ANTONY MICALLEF – HAPPY DEEP INSIDE MY HEART

Posted on 2011-09-12

Vibrantly colourful yet sometimes deeply troubling, Micallef’s canvases interweave social commentary with self-examination. Antony’s work is built upon the profound belief in the act of markmaking; figures and faces loom through the veil of loose, confident, almost abstract brushstrokes that explore experiences of life in London through sensations of light and dark, mirrored in both his palette and his choice of imagery.

Focussing on the contradiction inherent to mass-consumerism, the artist satirizes the rampant social suspicion of multi-national brands while simultaneously being outwardly seduced by products and marketing. Basing his art on social commentary and selfexamination over propaganda and style, Micallef is a traditional fine artist, weaving elements of pop-art into his large canvases.

Exhibition runs through to October 22nd, 2011

Lazarides
11 Rathbone Place
London
W1T 1HR

www.lazinc.com

  

DONALD EVANS – SELECTED WORKS

Posted on 2011-09-12

Evans began painting stamps of imaginary countries as a child and a novice stamp collector, and revisited and developed the concept as an adult, as he traveled the world, eventually settling in Amsterdam. Evans’ imaginary countries are complete with their own history, geography, currency and customs. The artist recorded each stamp series in his Catalogue of the World, organizing the work as one would an actual stamp collection.

Exhibition runs through to October 15th, 2011

Tibor de Nagy Gallery
724 Fifth Ave
New York
NY 10019

www.tibordenagy.com

  

KAWS – HOLD THE LINE

Posted on 2011-09-05

In Hold The Line, a large group of tondo paintings feature extreme close-ups of the face of KAWSBob, a recurring subject in the works on canvas. The circular edges of the picture plane resonate with cartoonish facial features: the scaled-up, concisely-painted, hard-edged curves of eyelids, undulating nose, and blocky, rectangular teeth are zoomed and cropped to an extent that offers the face as a kind of color field.

Along with the existential emotive and psychotropic narrative avenues KAWS opens up for his altered versions of iconic animated characters, the artist’s works also provide the viewer with a richly rewarding and expansive formal consideration.

Non-naturalistic color takes on new meaning in the case where there is no living, breathing, original referent for characters born of cell animation (such as SpongeBob SquarePants). Nevertheless, the unconventional palette in KAWS’s paintings–from high impact contrasts to monochromatic use of fluorescents, primaries, and darker tones–simultaneously defamiliarizes the ubiquitous characters while accentuating the reductive geometric play that abounds in their volumes and surfaces. In recent paintings, figures seem buoyed in the zero-gravity aftermath of a cartoon explosion, entangled in a dynamic composition of unmoored planks, bricks, or tentacles of color.

Exhibition runs from September 10th to October 22nd, 2011

Honor Fraser Gallery
2622 S La Cienega Blvd
Los Angeles
CA 90034

www.honorfraser.com