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29 September 2011
  Painting & Drawing  

CHARLIE SMITH london
MARGARET THATCHER PROJECTS, New York
GALERIE REINHARD HAUFF, Stuttgart
HPGRP Gallery, New York
HEZI COHEN GALLERY, Tel Aviv
 

 
CHARLIE SMITH london
 
 
John Stark, 'In Times of Exactness and Uncertainty', 2011
 
John Stark
'In Times of Exactness and Uncertainty', 2011
Oil on wood panel
110 x 145cm
Courtesy of CHARLIE SMITH london
 
 
JOHN STARK
Apiculture
 
October 7th - November 12th 2011
Private View Thursday October 6th 6.30pm–8.30pm
 
CHARLIE SMITH london is delighted to present John Stark with his second one person exhibition at the gallery.
 
In this exhibition Stark has created a body of work that gravitates towards the centre of his preoccupations of the last three years. Rendered with masterly technique in oil on panel, Stark’s paintings transcend time by navigating the historical, the contemporary and the futuristic. At once his content recalls the Flemish landscape painting of Patinir; the figure work of Zurbarán and Sassoferrato; and the minimal Modernism of Judd. We are invited to assume that these depictions are posited at some point in an imagined future. Figures bustle amongst sporadic buildings in verdant foregrounds and backgrounds made of ever receding waterways and rocky out-crops. However, on further consideration it becomes unclear as to whether these vistas are a futuristic wondering or rather a rendition of some eternally recurring cycle.
 
Central to this creation of non (but all encompassing) time and place are the endeavours of the populace within. Colonies of beekeepers tend to their colonies of bees. Hooded and masked figures labour in the landscape in a collaborative enterprise to create liquid gold. Analogous to the intensive work of the artist, all are toiling here, all creating. Stark has also begun to provide more information. There is no doubt that we are exploring a utilitarian society consisting of communities inhabiting historic towers and fortifications; postmodern and prototype dwellings and units; and everyone and everything has its function.
 
We are not being directed however. These paintings are a virtuoso display of artist as vessel. They are depictions from an internal world but which also touch upon universal aspects of existence, traversing expansive leitmotifs that embrace philosophy, spirituality, and the histories of art and thought (and feeling). Operating as a collection of paintings that work together as a group, the whole refers to each individual part and in turn each part serves to provide an understanding of the whole. There is only one more component required to interpret the circle of endeavour of artist and subjects in these allegorical paintings and that is the psychology of the viewer.
 
John Stark
Born: 1979
Education: MA in Fine Art, Royal Academy Schools, 2001 – 2004; BA (Hons) in Fine Art (First Class), University of West England, 1998 - 2001
Selected Exhibitions: 2011: The Saatchi Gallery & Channel 4’s New Sensations and The Future Can Wait, Victoria House, London; Black & White, Oliver Sears Gallery, Dublin; Polemically Small (curated by Edward Lucie-Smith), Klaipeda Culture Communication Centre, Klaipeda; The Future Can Wait presents: Polemically Small, Torrance Art Museum, Torrance; 2010: Mercurius Duplex (One Person), Conner Contemporary Art, Washington; Dawnbreakers John Hansard Gallery, Southampton; 2009: Meliora Silentio, CHARLIE SMITH london, London; Secrets and Confessions, Ana Cristea Gallery, New York; Romance Derived (thecentre:MK Annual Painting Prize), thecentre:mk, Milton Keynes; Saxon, Schwartz Projects, London; Strange Days and Some Flowers, Storey Gallery, Lancaster; 2008: The Sovereign European Art Prize, Somerset House, London; The Past is History, Changing Role Gallery, Naples; New London School, Mark Moore Gallery, LA; Eau Savage II, Fieldgate Gallery, London, 2007; Kaminzimmer, Grieder Contemporary, Zurich
Selected Awards & Residencies: Arts Council Exhibition Award for ’Altered Beast’, London, 2006; Arts Council Exhibition Participation Award, 2005; Royal Academy Schools & Loughborough University School of Art and Design Artist’s Residency & Teaching Fellowship, 2004-2005; Royal Academy Schools Rome Travel Bursary, 2004; Premiums Award - The Victoria Levin Fund, 2003
Collections: P. Ognibene, MD, Washington DC; David Roberts, London; private collections in Finland, Germany, Ireland, Italy, Switzerland, United Kingdom and United States

 
CHARLIE SMITH london
336 Old St
London, EC1V 9DR
T +44 (0)20 7739 4055
 
 
 
 

 
MARGARET THATCHER PROJECTS, New York
 
 
Steve DeFrank, Picnic Table, 2011
 
Steve DeFrank
Picnic Table, 2011
Casein on paper
35" x 60" x 48"
Courtesy of Margaret Thatcher Projects, New York
 
 
Steve DeFrank
This Ain't No Picnic
 
September 22 - October 22, 2011
 
A master of visual trickery and playful subversion, Steve DeFrank works with seemingly familiar materials and subjects to create a sense of accessibility and knowability in his work that enables him to tap into complex issues with a wry mischief rather than didacticism. In This Ain’t No Picnic, his second solo show at Margaret Thatcher Projects, what appear to be planks of wood chiseled with pithy, socially aware graffiti, upon closer inspection reveal themselves to be painstakingly crafted paper boxes painted with casein, an ancient milk based medium. The result is a delightful and willful suspension of reality, as the interplay between text and material comes to full effect.
 
For this exhibition, DeFrank has taken his subversive tromp l’oiel one step further - creating a life-sized picnic table constructed entirely of painted paper. Rife with pithy aphorisms, puns, and off-color jokes “carved” into its surface as though it were stationed at a rest stop somewhere along the New Jersey Turnpike, the piece is a dialogue within itself. And though you just may find “for a good time, call...” on the surface, DeFrank artfully applies his wry and cutting sense of humor to the fray, creating something that moves past mundane graffiti and becomes a conversation about contemporary life and values. Just below a carving that exhorts “luv your body the way it is” a wise-cracking response is carved: “You wouldn’t say that if you were a zombie,” and a third vandal adds “or if you had a viral infection.” Another tag proclaims “I <3 my 2 dads,” and yet another points out “your ego is showing.” As the viewer spends time considering the table, the ultimate pun is revealed: however bright and delightfully packaged, contemporary life, it seems, ain’t no picnic.
 
DeFrank’s art is first and foremost his own private playground, a vehicle for exploring issues central to his personal identity. He grants elements often considered kitsch by the artistic hierarchy, validity by inserting them into fine art conceptions. Transforming the playful into the significant while making the all too serious humorous, the artist reveals his own approach to life. Resigned to the inevitable hurdles that arise, DeFrank and his paintings triumph through a resilient optimism and a persistent sense of humor.
Steve DeFrank, who has also had solo exhibitions at Clementine Gallery and Clifford Smith Gallery in Boston, is represented in the permanent collections of the New Museum of Contemporary Art and the West Collection.

 
MARGARET THATCHER PROJECTS
539 W. 23rd Street
New York, NY 10011
T: 1 212 675 0222
 
 
 
 

 
GALERIE REINHARD HAUFF, Stuttgart
 
 
Anne-Lise Coste, "d5919bcc3aeeb621e64daf06b703c106" Installation view, Galerie Reinhard Hauff, Stuttgart
 
Anne-Lise Coste
"d5919bcc3aeeb621e64daf06b703c106"
Installation view
Galerie Reinhard Hauff, Stuttgart
 
 
Anne-Lise Coste
"d5919bcc3aeeb621e64daf06b703c106"
 
16.09. -  29.10.2011
 
– painting and new york –
 
i moved to NY april 1, 2010, into a handsome apartment on the upper west side. it’s the lay of the land that made things happen, I’m happy, there’s a handsome tall tree outside my window where handsome birds (red cardinal, blue jay) land and sing. it’s very calm here, gentle and luminous, there’s the sky that opens above my bed. the sounds of the city that reach me are ambulance sirens and planes landing in the distance.
I get the exact opposite when going down into the subway nearby: the underground, the deafening, the withering, black, neon, metal, asphalt and concrete. and the rats and cockroaches race. humans are another story.
 
in may 2010 i was drawing on the table (in the living room of my apartment) on paper, horizontally, with an 8B soft pencil and a ruler. what came out were the series “cages,” “penetrations,” “pedestals (Mondrian)” and “architectures.”
 
at the end of the summer, paper felt insufficiently there: i discovered the wood panel.
 
so i continued the first oil paintings (see the oils from berlin, in the reinhard hauff archives) with the series “sort of letters” and the series “sort of cubes,” as the name indicates, you can see letters and cubes in thick spaces of titanium white.
 
I was very sick in october, the smell of oil made me worse, i therefore switched to tempera on paper and primed canvas, which i bought at the art supply store.
 
december 2010, a large painting with many colors, the last one, made from 15 canvases placed side by side, exhibited in detroit at susanne hilberry; two faces and two words, SEX, MAMA, appear again and became the title.
 
then it was over. there wouldn’t be any more. no more heads no more words.
 
some call it silence. i don’t disagree.
 
january 2011, a reduction of the palette to red white blue and black and especially the decision to only paint. painting with tempera on primed canvases of different sizes, “red,” “blue,” “white.”
 
end of february, black nothing but black; then came: “amerikka,” also exhibited in detroit. then “new york” and “a car in the night,” the last series made with the sole brush.
 
for even more presence, the choice was black oil, “ivory black,” a fine oxymoron.
 
i empty the tube of paint directly onto the handsome, unprimed wood panels that i’ve just discovered; from there i give up the brush for the silkscreen squeegee.
 
later come fingers upon the suggestion of a friend about the existence of latex gloves.
 
the gravity, the prominence of the work grows as a result of physical spaces graciously offered to me (financially unable to have recourse to any myself). i now work in places that look like what one would call studios: an empty room with white walls and a wall of windows in an LA-60s-style summer villa in east hampton and in a gallery on the 4th floor in chelsea, also a very handsome space with high walls on 26th near the hudson.
 
this has yielded paintings on large wood panels, plywood, bought at the lumber yard measuring 92 x 123 cm and on unprimed canvases, dropcloths to be precise, which are used to protect and which i bought at the hardware store, measuring 3.65 x 2.74 m.
 
all of it still flat on a table or the floor.
 
i continue down my painter's path: i paint
 
(Anne-Lise Coste, 2011)

Anne-Lise Coste was born 1973 in Marseille and lives and works in New York. Recently her works have been shown at Museum of Modern and Contemporary Art, Santander / Spain, Susanne Hilberry Gallery, Detroit, Nicole Klagsbrun Gallery, New York and in the group show "Hysteria, Laughter and a Sense of Seriousness" at Galerie Gregor Staiger and Karma International, Zurich (all 2011). This october she will show at Ellen de Bruijne Projects, Amsterdam, in november at Noguerras Blanchard, Barcelona. "d5919bcc3aeeb621e64daf06b703c106" is the fifth solo exhibition at Galerie Reinhard Hauff, Stuttgart.

 
GALERIE REINHARD HAUFF
Paulinenstrasse 47
D - 70178 Stuttgart
Germany
T: +49 (0) 711 609 770
 
 
 
 

 
HPGRP Gallery, New York
 
 
Adela Leibowitz, Untitled (purple), 2011
 
Adela Leibowitz
Untitled (purple), 2011
acrylic on canvas
52" x 54"
Courtesy of the artist and HPGRP Gallery, New York
 
 
Adela Leibowitz
The Untitled
 
September 29 - October 29, 2011
 
hpgrp Gallery is please to announce the opening of The Untitled, a solo exhibition of new paintings by Adela Leibowitz. Defying easy categorization, the works - which utilize tropes of landscape and figurative painting while denying representation - are depictions of abstract notions of spirituality, mythology, and the elemental (and often invisible) fabric of life manifested in physical forms.
 
Inspired by a range of esoteric sources that include Egyptian objects of worship, the films of Alexander Jodorowsky, the color theories of Rudolf Steiner, music from the 1960s, and the practice of worldly Asceticism, Leibowitz’s compositions are lush, spectral, and otherworldly. Rather than being reflections of objects as seen by the eye, the works are conduits that allow viewers to open themselves to higher powers - earth, wind, fire, water, and depending on one’s own belief system, the deities that weave the web that connects everything, including our souls, to the natural world.
 
Adela Leibowitz is a New York-based artist whose work has been exhibited in shows at hpgrp Gallery, Tokyo, Japan; Bo-Lee Gallery, Bath, United Kingdom; Holster Projects, London, United Kingdom; Parisian Laundry, Montreal, Canada; The Observatory in Brooklyn, New York; and Mobile Museum of Art, Mobile, Alabama, to name a few. Past solo shows include Jack the Pelican Presents (2004) Brooklyn, NY and 33 Bond (2009) New York, NY.
 
Leibowitz, who holds an MFA from The New York Academy of Art, has currently been awarded a studio residency at Chashama. Previous residencies include the Millay Colony in Austerlitz, New York and P.S. 122 in New York, NY. Her work has been featured in The New York Times, NY Arts Magazine, Whitehot Magazine, The Village Voice, New American Paintings, Time Out New York, Art of England, and American Art Collector.
 
Currently, an exhibition she curated, The Unseen, is running at The Torrance Museum of Art in Torrance, CA.

 
HPGRP Gallery
529 West 20th St. 2W
New York, NY 10011
T: +1 212 727 2491
 
 
 
 

 
HEZI COHEN GALLERY, Tel Aviv
 
 
Amit Cabessa, Burial, 2011
 
Amit Cabessa
Burial, 2011
Oil on canvas
197x199cm
Courtesy of Hezi Cohen Gallery, Te Aviv
 
 
AMIT CABESSA
Bli Neder
 
06.10.2011 - 19.11.2011
Opening: 06.10.2011, Thursday at 20:00
 
The current exhibition presents Amit Cabessa's new works from the last two years the works are marked by exile. In previous years the artist worked on establishing the main characters together with a kibbutz ideal where man and nature unite. These paintings were characterized by descriptions of local characters, families, animals and sabras in this pastoral atmosphere brides and grooms were depicted as a symbol of mating between man and mother - earth.
 
The Paintings and sculptures in this exhibition uproot the kibbutz residents we met in earlier paintings, dropping the ground beneath their feet and converting the green land to blood red soil. In the Center of the exhibition is the painting titled "Golus " - This is a monumental triptych that phrases in it three wings the ethos of the Diaspora, it describes a family who leaves their home and accepts the Burden of exile. In another major painting, "Family in a Boat", the artist depicts his family roaming an endless sea. Thus between boat statues and paintings of long journeys the residents of Cabessa work leave the sunlight into the darkness of exile.
 
In light of physical exile metaphysical exile occurs. If geographic exile involves non-existence – not being in a certain place which is significant or "The place", then the mental exile separates man from himself, or me from myself (a component that comes up in the artist self-portraits). The current creative Episode reveals epic tells that come up through the existential human condition and places physical exile (local) and metaphysical (spiritual) as an inherent feature of the human character.
Text: Ron Bartos/ "Amit Cabessa: Kibbutz-Golus"
 
 
Jonathan Touitou, Genetic Assemblage
 
Jonathan Touitou
Genetic Assemblage
150 x 260 cm
Courtesy of Hezi Cohen Gallery, Te Aviv
 
 
JONATHAN TOUITOU
Pandora's Box
 
06.10.2011 - 19.11.2011
Opening: 06.10.2011, Thursday at 20:00
 
The installation work Pandora's Box is a comment on ideologies, on what a pre-established set of ideas can generate. It is a tale staging the dystopian mirror of spectacle. The work is dedicated to who, like Pandora, is left with hope after his/her naivety has "released all the evils of mankind into the world".
 

HEZI COHEN GALLERY
54 Wolfson Street
66042 Tel Aviv
Israel
T: +972 (0)36398788
 
 
 
 
 

 
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