Group Show at HALSEY MCKAY GALLERY / HUMAN DRAMA curated by Denise Kupferschmidt
HUMAN DRAMA curated by Denise Kupferschmidt
Gina Beavers, Ariel Dill, Joanne Greenbaum, Peter Mandradjieff, Leigh Ruple, Jeffrey Tranchell,
Opening reception for the artists: Saturday, March 2, 6-8 pm
March 2 - 31, 2013 | Gallery Hours: Saturday – Sunday 11 - 6 pm
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Meditations on a way to live
The orange sky in the night glows over the train tracks, going north.
Just then, a cat runs into its tail
I’ve never felt warmer than I did that night.
The rain was turning into snow, and
Place by the sea, that’s where I wanna be
Love is the thing in time that listens
I can’t remember the feeling it is like a silver glove
I live by this acquaintance.
I decided to write a poem as a contribution to this show I’ve curated. It felt appropriate, since the works presented in Human Drama are so full of flourish. It seemed right to begin any statement about them with something poetic. These artists are moving towards their personal truths along paths that are inconstant and unworn. The availability of each practice exists in varying degrees. Their media is invigorated and instilled with what happens in the environment of their practice: rituals, rooms, dreams, habits and patterns, everyday stuff. Materiality informs the discussion, to be unresolved in moment to moment experiential investigations of the artwork, or redefined in the making. They are living with making art. They are living and making art. They are making art out of living.
Jeffrey Tranchell builds artworks out of “store-bought” materials that hover between medium and product. He layers the quotidian yet aspirational preferences of the general populace and the aesthetics of home and handy work over more traditional vocabularies of abstraction and painting. The organic forms in Ariel Dill’s paintings ignite her canvases with sensory experience as she mingles with different interpretations of form. She forgoes a singular style in favor of renegotiating her approach to circumvent resolution and prioritize a continuous exploration of painting. Joanne Greenbaum similiarly embeds her methodology within paintings and sculptures, inviting the daily experience of artmaking to generate a consistently new origin from which to formally explore abstract painting and new materials.
In Gina Beavers’ three-dimensional sculpted paintings, she lifts and recreates subject matter from television, blogs, printed matter, and other sources. She creates a narrative between realities of contemporary art and cultural media, while pondering the artist’s relationship to them. Johannes VanDerBeek looks to his immediate environment for inspiration and materials, transforming and masking the mundane identities of the objects around him as he works, while instilling totemic associations. Leigh Ruple combines geometric abstraction with figuration, confronting gender roles as she allows her female subjects to be stand-ins for herself, subverting the ideals of Modernism. Peter Mandradjieff imposes templates and systems born out of idiosyncratic studio practices such as laying the canvas flat on a tabletop or the studio floor, allowing tenuous moments of beauty and balance when intention and discovery overlap.
Recently named in Modern Painters’ “100 Artists to Watch,” Denise Kupferschmidt has had solo exhibitions in Chicago, Boston, and most recently in East Hampton with Halsey McKay Gallery. Her work has been included in exhibitions in New York at Nicole Klagsbrun Gallery, Marvelli Gallery, and Eleven Rivington, as well as at Western Exhibitions in Chicago, and CAVE in Detroit. In 2010 she was featured as a NADA Emerging Artist in The L Magazine. Kupferschmidt was recently featured in the Next Wave Festival at the Brooklyn Academy of Music where she installed two painted murals in the Peter Jay Sharp Building's lobby. Denise Kupferschmidt is co-organizer, with Joshua Smith, of “Apartment Show”, a series of roving group shows featuring artists in New York City.
Group Show at Nicole Klagsbrun
For Immediate Release:
I have become a keeper of rooms; I no longer wander ecstatic among; the gardens. My dreams are the fabric of the walls. I have become so ridged in an attitude of listening that my body resents the movement of selection. From my high window I can see the mountains of Eternity and I can hear the legion song of the Soul and I would lift my own song at last.
Nicole Klagsbrun Gallery is pleased to present Vision Quest, a group exhibition organized by Amanda Friedman and Taylor Trabulus, running from June 21 through July 27, 2012. A reception will be held on Thursday, June 21 from 6-8 pm.
Cameron (Marjorie Cameron Parsons Kimmel) (1922-1995) retreated to the desert of Beaumont, California for a kind of 'vision quest', living for a time in an abandoned canyon without water or power.2 Throughout her life, she exchanged daily comforts for spiritual, holistic and aesthetic journeys. Whether in the beat community in Los Angeles, studying in Mexico, or starring in Kenneth Angers' film, Inauguration of the Pleasure Dome, Cameron consistently voyaged both inwardly and externally, defining herself as an influential West Coast artist, performer, poet, seer and mystic.3 Acting as a guiding force for this exhibition, on view are several of Cameron's ink drawings on paper depicting visionary entities.
Akin to Cameron’s methodology, the works selected demonstrate an impulse to explore the preternatural- unnatural phenomena with rational explanations. By utilizing the destructive powers of the sun, Amy Granat’s photograms and Sam Fall’s garden hose prints on cotton are both made by a transparent procedure. Reminiscent of an artifact from an unknown future, Jimmie Durham’s raw sculpture composed of a painted wooden box, bone and glass is made to resemble a video projector sitting on a shelf. Yuji Agematsu’s assemblage of renovated refuse archives the artist’s explorations as he moves through New York City, exuding a material awareness and otherworldly glow.
Matt Hoyt's small-scale pieces on shelves and Sophie Stone's "tiles" appear to be natural and found objects, but are made using artifical substances. In Patrick Jackson's Dirt Pile, a mound of sediment is absurdly displayed on a marble and glass pedestal. Gyan Panchal's sculpture of insulation and silver leaf, alludes to a customary and everyday object, yet emanates a prodigious aura through its re-contextualization of materials. Transitional situations continue to manifest through technique in Ariel Dill's dynamic oil paintings. While Harold Ancart's drawing and metal sculpture renegotiate surface and area through an indicative use of line. Simultaneously looking inward and outward, to nature and to urban life, the works in Vision Quest empower art to be both found and sought after, while existing in a realm transcending space and time.
1Cameron’s Magic Diary, 1950s.
2 Michael Duncan, Cameron catalogue for the exhibition “Cameron” at Nicole Klagsbrun (The Studley Press Inc., 2007) 40.
3Michael Duncan, “Cameron,” <http://www.cameron-parsons.org/cameron.html>.
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