CURRENT 15 AUGUST TO 2 SEPTEMBER 2018
In Seasons Leo Coyte’s idiosyncratic visual language continues to cycle through everyday encounters and subconscious recollections. The directness of a shallow picture plane and frontal figure-ground relationship provides Coyte with a simple yet sophisticated stage to play-out a series of psychic tableaux.
V1 Gallery is pleased to present
A solo exhibition by Alicia McCarthy
OPENING RECEPTION: FRIDAY AUGUST 17. 2018. TIME: 17.00 – 21.00
EXHIBITION PERIOD AUGUST 17 – SEPTEMBER 22. 2018
Alicia McCarthy’s energetic works weave together colour, pattern and occasional lyrical or understatedly profound phrases. The artist is drawn to the discarded. Digesting the city’s landscape, ambivalent everyday items sheared from their original intent are appropriated into intimate art objects. Abandoned wood is scouted and repurposed as a foundation. McCarthy applies house paint, coloured pencil, liquid graphite and spray paint transforming recycled materials into art objects with a folk, DIY and punk aesthetic. Most of the new works combine various abstract gestures while maintaining a very physical presence. They are subtle, radiant, complex and emanate an immediate and honest energy.
Alicia McCarthy is one of the core figures of what is now known as “The Mission School” together with Barry McGee, Margaret Kilgallen, Ruby Neri and Chris Johanson. Named after San Francisco’s Mission District where the artists lived and worked in the 1990s when it was still a pre-gentrified low-rent neighbourhood. The group came together around independent music, skateboarding, graffiti, community driven projects, queer politics and zine publishing.
They favoured found materials to paint and draw on and turning them into sculptures and installations. Influenced by their rough urban surroundings, the natural beauty that encapsulates San Francisco and their mutual interests, they started making art that carried a myriad of sentiments, simultaneously upbeat and downbeat, abstract and figurative, harsh, humorously tender, repetitive, old fashioned and avant-garde.
The group never worked as a collective and never sought out a collective identity, but their aesthetics and attitude gained popularity in San Francisco and spread, influencing and inspiring creators around the world. The group became part of the seminal traveling exhibition Beautiful Losers(curated by Aaron Rose and Christian Strike), now also a documentary of the same title.
Alicia McCarthy, born 1969, lives and works in Oakland. She received her BFA from San Francisco Art Institute in 1994 (MFA from University of California 2005). In 2013 at the same institute, a large group exhibition titled Energy That Is All Around: Mission School, curated by Natasha Boas, would survey the work of McCarthy and her colleagues. Other recent exhibitions include White Columns, New York, Grey Art Gallery, New York University, Jack Hanley, New York, and Berkeley Art Museum, Berkeley. McCarthy has taken part in several group exhibitions at V1 Gallery, this is her second solo exhibition with the gallery.
Eighteen is pleased to present
Little Savage – A solo exhibition by Barry McGee
OPENING RECEPTION: FRIDAY AUGUST 17. 2018. TIME: 17.00 – 21.00
EXHIBITION PERIOD AUGUST 17 – OCTOBER 20. 2018
Barry McGee creates vast unpredictable and improvised organic installations. He incorporates paintings, ceramics, drawings, books, plants, photography, sculptures, found objects, works by other artists into immersive exhibitions that sprout and grow over the walls, floors and ceilings of the exhibition space.
Little Savageis a place to explore. Enjoy.
Barry McGee, born 1966, lives and works on the American West Coast in San Francisco. He works in a wide variety of media; painting on wood, ceramics, drawing, zines, photography, sculpture and large-scale installation. McGee refuges hierarchies of material or subject matter and all formats are treated equally. McGee’s artistic style incorporates a multitude of inspirations – American folk art, sign making, op art and graffiti. His work is influenced by, and reflects upon contemporary society, especially those that tend to be left behind by it, or choose not to play by its rules. In the recent body of work McGee pushes his imagery into the iconic, figures and shapes are barely indicated, then repeated and mixed with abstract patterns. McGee has recently been the subject of three large survey exhibitions at the Modern Art Museum of Ft. Worth Texas, the Berkeley Art Museum and the Institute of Contemporary Art in Boston. Little Savage is Barry McGee’s first solo exhibition with Eighteen, he has previously mounted and curated exhibitions at V1 Gallery.
Friday Aug 17 Dinner Party presents Woodland Reducer, new works by Daniel Sparkes PV 6 – 9pm then by appointment until Monday Aug 20
Opening Thursday August 23, 5 – 7pm
August 23 – September 22, 2018
Perrotin Seoul is pleased to present Otani Workshop’s first solo exhibition in South Korea. The occasion also marks the artist’s first solo show with the gallery.
Established in 2005, Otani Workshop is representative of an exciting new wave of ceramic artists from Japan, blending time-honored Japanese artistic techniques with contemporary aesthetics. While it is true that the word workshop invites an assumption that it is a collective of artists, a factory or even an amateur experiment, Otani Workshop is in fact the name of a single artist: Shigeru Otani.
While a student at Okinawa Prefectural University of Arts, Otani became frustrated by the prospect of indigence as an artist. This lead the artist to take a sabbatical from school and embark on a year-long personal expedition, exploring Japan while sleeping in the bed of a pickup truck. What began as a tour of various museums, temples and shrines of his home country, soon became an introspective journey, questioning his identity as an artist. This experience led to the epiphany that he was, after all, on the right path toward a predestined career as a sculptor.
A Minimal Relief
Aug 23 — Sep 16, 2018
Opening reception: Aug 23, 17:00 — 20:00.
From August 23rd to September 16th and as the first exhibition of a new season of shows, Nevven is hosting the three—person exhibition A Minimal Relief. Whether it be in the form of mosaics of roughly crushed wood—boards, of organic textures of handmade paper, or over—detailed moulded acrylic paintings on canvas, the exhibition will showcase and highlight the common ground between the practices and the intersections between three current series by Clemens Behr, Fanny Hellgren and Dominic Terlizzi.
After his 2016 solo show with the gallery — Nevven is pleased to exhibit again Clemens Behr. Known for his ephemeral sculptures and monumental installations of raw building materials, Behr’s approach to abstract three—dimensional forms is ironic, personal and savvy. For this exhibition, Behr presents a new wall—based sculpture featuring an abstract collage of wood—panels. Rough and elegant, this work could be taken as brief summary of the German artist’s production in its timeless grace and brutal nature.
After her first solo show with the gallery in Fall of 2017, Fanny Hellgren contributes to this exhibition with a wall—based installation from a series of paper sculptures which furthers her research into this material. To create these new works the Swedish artist dissolved cardboard and newspapers in water in order to reshape them into large slabs of handmade paper. Micro—tonally coloured by the remains of the fibres recycled into them, imprinted in textures both incidentally and deliberately, the results are imposing yet weightless organic surfaces which resembles wrinkled and delicate layers of skin.
Along with these two artists, Nevven is proud to introduce for the first time in Sweden the Baltimore—based artist Dominic Terlizzi. In a painstaking and meticulously long process, the American artist uses acrylic paint as moulding material in order to create extremely complex, mosaic—looking, reliefs on canvas. The subjects of the figurative compositions which results from this process are playful, ironic and humorous, yet at the same time elegant in such an effortless way that makes Terlizzi’s works unique in their own genre. For A Minimal Relief, he presents a selection of new monochrome moulded acrylic paintings on canvas.
The hope is that this exhibition will enable the viewers to experience the quiet elegance these three artist share in their most recent wall based sculptural works. Antithetic in their process, they are connected in a shared uncommon approach to materials, which they bend with elegance and subtle irony while altering their function or appearance. We believe that — regardless of their differences — Clemens Behr, Fanny Hellgren and Dominic Terlizzi have found each other on a common ground in the latest results of their practices. A Minimal Relieftries to capture this convergence, letting these three artists lyrically enhance and mirror each other through their exhibited works.
WHERE DO WE GO FROM HERE?
OPENING AUG 23
Nikolaj Kunsthal looks forward to presenting a brand new exhibition for the whole family after the summer holidays.
TEGN is the largest exhibition to date by the Danish artist HuskMitNavn. Nikolaj Kunsthal’s largest room will be transformed into an environment where the artists view of the world can come to life – amongst others via his characteristic life size figures painted on the walls.
One will also be able to experience hundreds of his satirical 3D drawings, where a white piece of A4 paper is transformed into three dimensional sculptures. When visiting the exhibition, the audience is invited to have a go at drawing in different set up environments. As an example, it will be possible to paint on a train, or break the entrance into a space with old gold frames and where the visitor can create art for the ‘museum’.
More info to come.
The exhibition opens on the 29th August, book the date now.
David Zwirner is pleased to present an exhibition of new paintings by the Belgian artist Harold Ancart at the gallery’s 24 Grafton Street location in London.
Ancart began painting icebergs in January 2018 in response to a glacial winter in New York, where the artist is based. These new works will be on view in Freeze, Ancart’s first exhibition in the United Kingdom as well as his first presentation at the gallery. The title of the exhibition refers not only to cold temperature but also to the command not to move.
Ancart paints subjects that naturally invite contemplation such as the horizon, clouds, flowers, or flames. Mankind has gathered around a flickering flame for millennia, weaving stories and creating myth, while the flame generates faces and figures as it moves. Clouds, mountains, and icebergs function in the same anthropomorphic way. According to the artist, they carry many faces and tell many stories.
The subject matter of the iceberg is consistent throughout the exhibition. The only other recurrent element that unites the paintings is the horizon line that slices through each work, dividing sky and sea, foreground and background. This device dissects the painting from a figurative whole into abstract parts; subject concedes to form, color, and gesture; these works are a meditation on painting.
Antwan Horfée – Art on Paper – Booth n°26
presenté par Plus-One Gallery
Todd James- Electric Ritual
Pantone’s inaugural solo exhibition with the gallery, Transformable Systems, opens September 6.
Blum & Poe, Los Angeles
September 8 – October 27, 2018
Opening reception: Saturday, September 8, 6-8pm
Blum & Poe is pleased to present an exhibition of new work by Tokyo-based painter Tomoo Gokita. This is the artist’s first exhibition with the gallery.
In his piercing, psychologically charged monochrome and greyscale paintings, Gokita portrays stylized cultural types against ambiguous backgrounds. Whether depicting wrestlers, starlets, dancers, or newlyweds, the artist shrouds his subjects in an atmosphere of eerie anonymity. Some compositions seem grounded in specific art historical references—ranging from Surrealism to post-war German figurative painting—yet are often imbued with the syntax of mainstream culture and its more obscure undercurrents. Viewers are left scavenging their memories for cultural indicators or contexts to complete the elusive, often inscrutable narratives before them.
The signature style of Gokita’s painting practice developed from his earlier career as a graphic designer in the late 1990s and early 2000s. At that time, he produced a series of newsprint books inspired by vintage magazines, film stills, pornography, and postcards—influences that endure to this day. Although Gokita’s penchant for pop culture immediately made him a celebrated figure within the fashion and music scenes, he also felt creatively cornered by this kind of attention. In 2005, he set aside graphic design entirely for the unconstrained artistic freedom of painting and drawing.
This exhibition presents a body of new paintings, all on square canvases. In Bongo Nyah (2018), the female nude—among the most prevalent tropes in representational art—is rendered with a sensual but disquieting intensity. The classicism of her seated pose and hand gesture, recalling the figurative tradition of 19th-century masters such as Manet, is ruptured by the smeared distortion of her face. This tension is sustained in double portraits such as Living Together (2018), the Gentleman Two (2018), and Love Duet (2018), in which Gokita dramatizes the awkwardness of his subjects’ poses and the ambiguity of their relationship to each other. In the group portrait Wrap Your Troubles in Dreams(2018), a seated woman, rendered with unusual fidelity, stares directly the viewer. Her uncomfortably crossed legs and conjoined hands emphasize the ultimate aim of Gokita’s art: the implication of the viewer in the psychological questioning of the construction of collective cultural memory.
SKWAK – New show