re-title.com Feature Newsletter Painting & Drawing September 2011

Painting & Drawing

JERWOOD SPACE, London

BETTY CUNINGHAM GALLERY, New York

LUIS DE JESUS LOS ANGELES

SIDE BY SIDE GALLERY AKIM MONET, Berlin

GALERIE CHRISTIAN LETHERT, Cologne

JERWOOD SPACE, London

Sophia Crilly
Harald Szeemann (From Ausstellungsmacher / A History of Exhibitions & Spaces series), 2011
Pencil on paper

Courtesy of the artist

JERWOOD DRAWING PRIZE 2011

14 September – 30 October 2011

JVA at Jerwood Space, London

The Jerwood Drawing Prize is the largest and longest running annual open exhibition for drawing in the UK. Judged by an independent panel of selectors, the Prize aims to recognise and support all UK based artists, from student to established, working in the field of drawing.

Approximately 3,500 entries were submitted this year for consideration by the distinguished panel of selectors: Iwona Blazwick, Director, Whitechapel Gallery; Tim Marlow, writer, broadcaster and Director of Exhibitions, White Cube; and Rachel Whiteread, artist. The shortlist includes established artists as well as relative newcomers and students fresh from art school.

An exhibition of selected works will take place at JVA at Jerwood Space, London from 14 September – 30 October 2011. The exhibition will then tour nationally.

Jerwood Visual Arts and Drawing Projects UK are delighted to announce the 60 artists selected for the Jerwood Drawing Prize 2011, which includes a first prize of £6,000, a second prize of £3,000, and two student awards of £1,000 each.

The artists short-listed for the Jerwood Drawing Prize 2011 are:

Liam Allan, Reginald Aloysius, Gillian Anderson, Iain Andrews, Liz Bailey, Adam Bainbridge, Robert Battams, Karen Blake, Jessie Brennan, Tobias Buckel, Ruth Chambers, Sophia Crilly, Kasia Depta-Garapich, Clara Drummond, Chris Eckersley, Hilary Ellis, Kristian Evju, Louisa Fairclough, Dave Farnham, Kristian Fletcher, Joy Gerrard, Thomas Gosebruch, David Hamilton, Lottie Jackson-Eeles, Jessica Killeen, Gary Lawrence, Mark Lawrence, Simon Leahy-Clark, Ka Wah Liu, Bethan Lloyd Worthington, Johanna Love, Steven Lowery, Brendan Lyons, Ruby Manson, Lorna McIntosh, Paul Mcloughlin, Richard McVetis, Liam Murray, Raksha Patel, Tracey Payne, Andrew Penketh, Tooney Phillips, Frank Pudney, Alastair Rech, Giulia Ricci, Fran Richardson, Arthur Roberts, Nicki Rolls, Janine Rook, Daniela Sarigu, Laura Smith, Ash Summers, Sally Taylor, Samuel Taylor, Amikam Toren Avis Underwood, Felicity Warbrick, Roanna Wells, Mick Welbourn, Polly Yates

Jerwood Visual Arts will host a series of evening events to accompany the exhibition. Events are free but must be booked in advance. For more information contact Parker Harris (01372 462190 or jdp@parkerharris.co.uk, or check the Jerwood Visual Arts website.

The Jerwood Drawing Prize was established in 1996 as the annual Cheltenham Open Drawing Exhibition. It was renamed the Jerwood Drawing Prize when the Jerwood Charitable Foundation became the principal sponsor in 2001. The Jerwood Drawing Prize is part of Jerwood Visual Arts and is run in partnership with Drawing Projects UK.

Jerwood Visual Arts (JVA) is a contemporary gallery programme of awards, exhibitions and events at Jerwood Space, London and on tour nationally. JVA promotes and celebrates the work of talented emerging artists across the disciplines of drawing, painting, sculpture, applied arts, photography and moving image. A major initiative of the Jerwood Charitable Foundation.

The Jerwood Charitable Foundation is dedicated to imaginative and responsible revenue funding of the arts, supporting emerging artists to develop and grow at important stages in their careers. The aim of their funding is to allow artists and arts organisations to thrive; to continue to develop their skills, imagination and creativity with integrity. They work with artists across art forms, from dance and theatre to literature, music and the visual arts.

Drawing Projects UK was established in 2009 by Anita Taylor, Co-Founder of the Jerwood Drawing Prize (originally Cheltenham Open Drawing Exhibition) and Director of the National Art School, Syndney. Drawing Projects UK aims to develop, organise and promote projects in drawing that contribute to and enhance knowledge and understanding of drawing in the UK.

JVA at Jerwood Space

London SE1 0LN
Mon - Fri 10am – 5pm, Sat & Sun 10am – 3pm
Admission: Free

BETTY CUNINGHAM GALLERY, New York

Oil on linen, 40 x 44 inches, 101.6 x 111.8 cm

Courtesy of Betty Cuningham Gallery, New York

September 8 – October 15, 2011

On Thursday September 8, 2011, Betty Cuningham Gallery will open the season with Greg Drasler: On the Lam, an exhibition of new paintings and his third solo show at the gallery. An opening reception for the artist will be held on September 8th, from 6 – 8 PM.

Drasler, in these highly polished uncanny paintings, constructs the elsewhere and disruptions of travel as if reinventing the wheel. With auto interiors, patterns and suspended objects, the manifold directions of the imagination is a back seat driver steering into bursts of symbolic coincidence. The objects have the capacity of vehicles and the vehicles are all interior. Littered with cameras, trailers, books, tents and a ski lift, the paintings remain unusually vacant yet preoccupied. This pile up of instruments, tools, patterns and apparel accumulates and reads as words in a sentence, a visual sentence, which is the painting.

Taking its title from the largest painting in the show the exhibition insinuates encampment as a destination. On the Lam (70 x 160 inches) is crowded with trailers, tents and wagons that attract with a variety of doors, windows, vents and flaps. In the constructed panoramic sky, complete with camp fire plume, hovers a bicycle wheel, either spun out or loosened from its sprockets. In the place below, where the rubber hits the road, the painting gives us means-to-move and places-to-be.

Born in Waukegan, IL, Greg Drasler received a BFA and MFA from the University of Illinois at Champaign/Urbana. He has exhibited regularly in the US since the mid 80's. Widely collected privately, Drasler’ s work can be seen in the collections of Dow Jones, Inc., New York; Krannert Art Museum, Champaign, IL; University of Illinois, Champaign/Urbana, IL; New Museum of Contemporary Art, New York; The Emily Fisher Landau Collection, New York and Thurston Twigg-Smith, Honolulu, HI.

Drasler has been the recipient of a National Endowment for the Arts Fellowship in 1993 and a New York Foundation for the Arts Fellowship in 1991. He is currently an Assistant Professor at Pratt Institute and has also taught at Princeton University.

BETTY CUNINGHAM GALLERY

541 West 25th street

LUIS DE JESUS, Los Angeles

Chris Barnard
"Crowd Pleaser, New Mexico", 2011
oil on canvas, 48 x 64 in / 121.9 x 162.6 cm

Courtesy of Luis De Jesus Los Angeles

"Toward Trinity"

September 10 – October 15, 2011

Luis De Jesus Los Angeles is very pleased to present Toward Trinity, an exhibition of new paintings by Los Angeles-based artist CHRIS BARNARD, on view at our new Culver City location, 2685 S. La Cienega Blvd, from September 10 through October 15, 2011. An opening reception will be held on Saturday, September 10th, from 6:00 to 8:00 p.m. This will be the artist’s second solo exhibition with the Gallery.

Toward Trinity continues Chris Barnard’s personal and passionate exploration of the gap between the visible and invisible aspects of military representations and war time realities. Questioning the systems that celebrate destructive force and technological achievement, and the subversive measures used to eclipse the darker side of imperialist motives, Toward Trinity offers a fresh exploration of power and spectatorship. It is an examination of contemporary American culture - one that is increasingly in a state of militarization and perpetual war - questioning the underlying structures of power that are framing the discussion and our understanding of these issues. Barnard implicates the role of art and visual culture in the process of social conditioning, exposing strategies that paradoxically disguise while also disclosing information. Employing techniques and mechanisms inherent to different pictorial traditions, such as history painting (popularly utilized to glorify imperial conquests), American 19th-century landscape painting (used to invoke Manifest Destiny, an ideological dominion over the land), and European religious paintings (produced to convey reverence and incite obedience), Barnard’s new work addresses the contentious relationship between the veneration of the American military-industrial complex and the ecological damage and human suffering caused by it.

Formally, Barnard has been developing a style of painting that offers various levels of representation and abstraction; some are tightly rendered in a realist manner and others are painted more loosely with “painterly pixilation” and dripping striations that simultaneously hide the subjects as it reveals them. Using space, color and texture, he draws attention to issues of surface and substance—what is real, what is fabricated, and how media affect its interpretation. In the painting Holy Ghost, inspired by images culled from the public domain of a Reaper drone (a pilot-less war plane), Barnard offers a commentary on the stealthy and detached methods through which missiles are deployed in the “War on Terror”, yet also points out the publicly accessible mediums through which this information circulates. In other paintings based on photographs taken by the artist of vast desert landscapes and aircraft hangars, he brings into focus those over-shadowed or intentionally ignored aspects of military operations by juxtaposing clarity with abstraction.

Chris Barnard was born 1977 and lives and works in Los Angeles, where he teaches at the University of Southern California. He received his MFA from USC’s Roski School of Fine Art in 2005 and his BA from Yale University in 1999. His work has been presented at the Denison Museum of Art, Sam Lee Gallery, Taylor de Cordoba Gallery, The Art Students League of New York, and numerous group exhibitions, including Theologies of Complexity, Cal-State Long Beach; Shut Up and Keep Swimming, Jail Gallery; and Supersonic2 at Wight Gallery/UCLA.

In the West Gallery, we are pleased to present new and recent works by Sayre Gomez, Sean Townley, and Bobbi Woods. All three artists are based in Los Angeles and studied at California Institute of the Arts in Valencia, CA, and Art Center College of Design in Pasadena, CA.

LUIS DE JESUS Los Angeles

2685 S. La Cienega Boulevard

Los Angeles, CA 90034

E: gallery @ luisdejesus.com

Hours: Tuesday-Saturday, 10am-6pm

SIDE BY SIDE GALLERY AKIM MONET, Berlin

Louise Bourgeois

PREGNANT WOMAN, 2008

Gouache and colored pencil on gray paper

31.1 x 25.4 centimeters (12 1/4 x 10 inches)

Image courtesy of: Side by Side Gallery Akim Monet GmbH, Berlin

Ernst Ludwig KIRCHNER

September 9 – October 29, 2011

Fertility, in all its literal or metaphoric meanings, is cyclic and timeless. At its most basic, to be fertile is to bear fruit-whether humans making children or the land producing crops. In a broader sense, fertility speaks to inventiveness, abundance, possibilities, ideas. It is the terrain of artists directly engaged in the act of creation and a fitting concept for the inaugural show of Side By Side Gallery Akim Monet, an exhibition space interested in the tangencies and dialogues between artworks spanning time and place.

Grouping works dating from the late 19th century to the contemporary moment by eleven artists, the show looks at its theme from many angles - factual and symbolic, erotic and tender, visceral and humorous. The contemporary artist Marina Abramovic immediately commands attention with the assertiveness of her female imagery. Abramovic's 2005 chromogenic print "Women in Rain #2," taken from her video piece "Balkan Erotic Epic," shows traditionally dressed village women in a field lifting their skirts and thrusting their exposed vaginas to the heavens. In equal parts startling and comic, the image is part of Abramovic's exploration of ancient Balkan beliefs in the power of human genitalia to ensure the fertility of the land.

Serrano's "Frozen Semen with Blood" (1990) is precisely that - plumes of the red and white elemental substances isolated close-up against a black ground. It is both matter-of-fact in its literalness and also beautifully evocative of pigments suspended in an Abstract Expressionist painting. It finds resonance with the corporeal redness of Louise Bourgeois's three gouaches titled "Pregnant Woman" from 2008 and 2009. Bourgeois's works, each a silhouette of a bulbous torso, seem to flip between figurative totems and abstract rivers of live-giving fluids. These embodiments of the state of fertility, made when the artist was in her mid 90s, have their roots in Surrealism, as do Daniel Spoerri's 1990s collages using images of reproductive anatomy lifted from 19th-century encyclopedias and his 1995 bronze "La Coppia-Hr. Stossel und Fr. Muscheli." This couple is amusingly personified by surrogates for their sexual organs- a rubber stamp for Hr. Stossel, a conch shell for Fr. Muscheli, each anthropomorphically poised on a set of little legs.

Another conversation over time happens between Ernst Ludwig Kirchner's "LiegendesPaar" (1908), a print of a couple lying in bed calmly post-coital, and Tracy Emin's 2009 monoprints "Suffer Love" of a woman furiously masturbating. Both are private glimpses of erotic intimacy, each daring in their own time, yet Emin's female is adamantly alone. While Emin's images suggest a kind of infertility of loneliness, at the same time they speak to the generative possibilities of her own hand as a means of self-preservation whether emotional or artistic.

Auguste Rodin and Pablo Picasso, two artists who saw their own virility as a font of creative power and viewed their prolific artistic output as a kind of offspring, each are represented by works overtly celebrating female sexuality. Rodin's bronze "Torsed'Adele" (1878) is a classically lyrical arched torso of his favored model Adele, who was in fact pregnant (although not obviously so) at the time of her sitting. In the etching "Raphael et la fornarina. II: Avec un voyeur cache" (1968), Picasso equates the erotic with the artistic enterprise as he imagines Raphael simultaneously seducing and painting his model.

Best known for his lurid street scenes of decadent Berlin, Kirchner also made wholesome scenes of maternal care including a mother and son playing with a train in the grass titled "Spielende kinder imgrasmiteisenbahn" (1924). Otto Mueller offers a harrowing counterpoint in his 1920 lithograph "Mutter und kind II." It is unclear whether boy cradled against the mother's body is only sleeping or in fact dead in a kind of pieta. Mueller's "Polnischefamilie" (1920-21), with a bony baby at the mother's breast and another child crouching under the table, illustrates that fertility can also be associated with destitution and failure to thrive. Their countryman George Grosz contributes an unsettling work on paper titled "Le Meilleur des mondes" (c. 1946-47) referencing Aldous Huxley's dystopian 1932 novel "Brave New World" about humans being relieved of their reproductive functions. Here Grosz presents a sardonic image of modernity with a grotesque embryo gestating in an anthropomorphic decanter towering over a naked woman robbed of her womb and a backdrop of glittering skyscrapers.

Jonathan Borofsky's contribution to the show takes a wide-angle view on the theme. "Human Structures (32 Figures)" (2002/2009), an indoor version of a large-scale piece done for the Beijing Olympics, is a freestanding cylindrical tower of alternating male and female figures, connected hand to hand and head to foot, each a different bright color of translucent molded polycarbonate. Here, the parts join like building blocks to create one universal, fertile organism. It is the eternal daisy chain of humanity.

- Text by Hilarie M. Sheets

Side by Side Gallery Akim Monet GmbH

Potsdamerstrasse 81b.

T. +49-30-25 46 09 44

Tue - Sat 11:00am – 6:00pm

GALERIE CHRISTIAN LETHERT, Cologne

Installation view Galerie Christian Lethert, Cologne

Foto: Simon Vogel, Cologne

DANIEL LERGON: ANTUMBRA

09.09. – 29.10.2011

For this year’s DC OPEN, the Galerie Christian Lethert is presenting a fourth solo exhibition of works by Daniel Lergon (born in 1978).

Since beginning his studies at the Universität der Künste (UdK) in Berlin with Professor Lothar Baumgarten, in his painting, Daniel Lergon has been dealing with the correlative interplay between light and surface, and the optical effects and perceptions that result from this. Whereas in his early works, Lergon used color pigments within the range of the color spectrum, applying them to all kinds of transparent, reflecting, and absorptive material surfaces, he later also included colors at the very extremes of the spectrum into his work. His intensive study of the colors was thus always tied to the materiality of the painting’s ground and the question regarding this influence this would have on the viewer’s perception.

Since 2007, Lergon has been working without using color pigments directly, painting instead with colorless, clear lacquer on technical grounds. These initially grey, later white, retro reflexive materials behave unusually concerning how they reflect the light. By using them, Lergon creates a painting that dispenses with color pigments, and which essentially comes about in the special reflection of the light upon the varnish and painting’s ground.

Here, the theme of light has been linked to the notion of shadows. In his new, black works, instead of using bright, light, reflecting materials Lergon paints on a black ground, which, due to its consistency, reflects the light less intensively. The varyingly dense traces of the transparent painting varnish yield extremely different intensities of darkness. Hence, the title of the exhibition: ANTUMBRA – a technical term that comes from astronomy and geometric optics and describes the area of a shining surface located behind the occluding shadow of an object.

The Galerie Christian Lethert will participate at this year’s ART PLATFORM LOS ANGELES from October 1st to 3rd. Furthermore we will again be presented at NADA in Miami from December 1st to 4th

GALERIE CHRISTIAN LETHERT

Antwerpener Straße 4

T: +49 (0)221 35 60 590

BM Box 5163
London
WC1N 3XX
United Kingdom

+44 (0) 870 922 0438

8 September 2011	Painting & Drawing
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