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September 06, 2006 | Painting |
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Houldsworth, London
Neil Farber - Ruby Throats Houldsworth is proud to relaunch from its new West London project space with the first UK solo exhibition of surrealist comic bad boy Neil Farber. Canadian born Neil Farber has shown internationally both as a solo artist and as part of the infamous comic collective the Royal Art Lodge. Farber’s work tessellates an astounding array of imagery to form surrealist fantasies, where material acts as foil to his audacious desire to push a cast of frogs, boys, birds, fried eggs, blood and bones to the extremities of decency. The figures in the images seem sorry, hapless subjects of their inner disorders and the alienating confusion of their external realities. Just when we feel we may have a grip on Farber’s work he surprises us by producing a piece of profound morbidity or, conversely, picturesque delicacy. Ruby Throats echoes the beguiling and disturbing nature of Farber’s works. The diaphanous pools of paint swirl around the hunched figures of round headed boys, humming birds and long haired maidens, but all too easily these pools of flowing colour become the excesses of bleeding necks and drowning seas. Farber explodes illustration outwards, creating a spiralling coil of tragicomic absurdity and gesture, with a poetic sensibility. Read on...Houldsworth, London |
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Kontainer Gallery, Los Angeles
ROBERT HOLYHEAD Kontainer is proud to present the first solo exhibition in the United States by London-based artist Robert Holyhead Holyhead’s paintings have a slight, but razor sharp aftertaste. They have an air of a witty retort, a cutting yet poignant remark; an answer, perhaps, to the question of serious abstraction. Beginning with small diagrams, first in pencil and then in watercolour, each stage educates the next by process of accumulation, dilution and consideration until this history is finally transferred to the canvas. Paired down forms sit alongside repetitive dementia, making Holyhead’s paintings unique in their apparent resolve of empty space. In the very essence of these refined paintings lies the almost intuitive ability of creating a balancing act for our compositional sensibilities. They carry the oddest of all painterly beauties; tottering on the edge of irreversible disaster and then holding back with grace and poise, leaving us in awe of their balance and focus, yet questioning their capacity to do this. Read on...Kontainer Gallery, Los Angeles |
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Eva Poll, Berlin
FRANZISKUS WENDELS : LandFlucht "Only where there is light, there is something, even when there is nothing." (Franziskus Wendels) Light, artificial light – illuminating nightly landscapes – is the almost singular topic of Franziskus Wendels' works. Nocturnal locations in cities, dark streets, silent interiors – all of them are more or less pervaded by different sources of light and observed from an higher angle, which offers a new sight onto town. Facades or single windows shine from insight. But never do Wendels lights drop shadow. Objects grow out of the luminous spots and into the night. Lines of light form sky scrapers, pale fleeting dashes tell about driving cars, colour spots show street-lamps. Motion develops through the succession of lights, shining in diffuse radiuses. This visual inscrutability defines the fascination of the paintings. It stimulates the fantasy of the viewers and gives an almost mystic aura to the works. The seeking eye moves over the image border just to be drawn back into the work immediately from ones own imagination of familiar memories. Wendels (*1960) is a commuter between worlds. Early in his life, he succumbed to the allure of big cities, but, simultaneously he needs the seclusion of a rural environment, in order to bring on canvas his manifold impressions of urban locations and incidents, often only sketched in rough light-lines. Read on...Eva Poll, Berlin |
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Domo Baal, London
ANSEL KRUT: HOTEL VINEGAR
Domo Baal is delighted to present Ansel Krut's forthcoming solo show in the gallery following on from the success of his 2-part solo show here in 2004. A pocket book for Hotel Vinegar is to be published to with an essay by Martin Herbert and a story by Miles Johnson, designed by Sarah Backhouse. "Ansel Krut's paintings often feel like propositions regarding the medium's capacity for building energy from multifariousness. Testicles with Moustache, for example, is a dense simultaneity of displacements: the apparent subject of a pinwheel-eyed, behatted head rising over a wall—or an ocean—of scuffed paint, is soon made unsteady. Cheeks and lips, you realize, do double-duty as thighs and booted calves; the nose is a pendulous pair of testicles, and so on. But this physical doubling, extending onto gender (and riding on deceptively rough-looking handling that enfolds a delicate touch), subtends an emotional one. The pictured subject's beleaguered emotional state won't hold, so indecorously extreme is it—it wants to flip over into some sort of joke. The pervasive instability won't let that reading dominate either; not will the content settle. A painterly recasting of the famous duck/rabbit image, it's a portrait of selfhood constantly collapsing into its other, enabled by the fluid permissions of paint." Martin Herbert, June 2006 Read on...Domo Baal, London |
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The McKinney Avenue Contemporary, Dallas TX
Ted Kincaid: Ten Years The McKinney Avenue Contemporary is pleased to announce Ten Years, a retrospective exhibition of the art works of Texas artist Ted Kincaid, curated by Charlie Wylie, Curator of Contemporary Art at the Dallas Museum of Art. The exhibition will be comprised of over 40 pieces, including early toned black and white works and his most recent series, CLOUDS, featured in solo exhibitions at Barry Whistler Gallery in Dallas, Arthur Roger Gallery in New Orleans, the Society for Contemporary Photography in Kansas City, and Ty Stokes Gallery in Atlanta. In a review in the Dallas Morning News, Janet Kutner described his CLOUDS as " awesome, beautiful in an otherworldly way, reflecting the metaphysical potential of technology sensitively handled." Ted Kincaid has exhibited extensively in his career and received considerable critical attention for his photographically based work. He has been reviewed in ARTFORUM, Art on Paper and ARTPAPER and is included in the permanent collections of the Dallas Museum of Art, the Museum of Fine Arts in Houston, the Museum of Fine Arts in San Antonio, the Neiman Marcus Collection, American Airlines, the Microsoft Corporation, the Belo Corporation, Pfizer, Inc., the Reader's Digest Corporate Collection, the city of Seattle, Washington, the U.S. State Department and the Human Rights Campaign headquarters in Washington, DC. Read on...The McKinney Avenue Contemporary, Dallas TX |
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Barbara Weiss, Berlin
Rebecca Morris - For Abstractionists and Friends of The Non-Objective The works of the American painter Rebecca Morris confront elements of cool formalism with a conspicuously hands-on use of material and paint. She paints many-layered and evocative works replete with art-historical and everyday references, and with a very personal and topical approach to abstraction. Following her solo exhibition in the renowned Renaissance Society in Chicago 2005, Galerie Barbara Weiss is now showing new large-format paintings. Rebecca Morris lives and works in Los Angeles, California. The works selected show indefinable ornamental coloured shapes on a predominantly dark background, using multiple layers of oil and spray paint. Rebecca Morris lays her canvases flat and paints them from above, applying amorphous, often rounded, drop shaped, but also sharp-edged and pointed clusters of colour that can be either seamlessly adjacent, cut and superimposed on one another, or isolated. They combine to form collage-like images reminiscent of patchwork blankets, piled up remnants of wallpaper, displays of semi-precious stones or drops of colour on velvet. One explicit art-historical reference made in several pictures in this show is to the Electric Prisms, Orphistic colour disk paintings done by Sonia Delaunay-Terk in 1915 and 1916. Together with her husband Robert, Delaunay-Terk played an important role in the development of geometrical abstraction. She made her name less as a painter, however, than through the practical application of her aesthetic principles on tapestries, book covers, furniture and interior decoration. After the war she opened a fashion salon. Read on... Barbara Weiss, Berlin |
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BucketRider, Chicago
ANDREW GUENTHER Reflections of Ourselves from Space Andrew Guenther's first stateside solo exhibition since 2004 continues his interest in how contemporary notions of humanity's grotesques operate within our organized albeit always future-leaning world. Utilizing the imagery of science fiction and horror films and employing characters stripped directly from the margins of our already tentative society, he reveals the tragic yet absurdly comical ways that our natural instincts can spin terribly out of control. The new paintings describe a narrative of human space exploration and conflicts with nature and our own mortality. The artist's simultaneous use of earthy and electric colors and his oscillation between seemingly unkempt and very attentive applications of paint add to the uneasiness of the scene being depicted, forcing the viewer to re-examine his own precarious anchor in the world. Andrew Guenther was born in 1976 in Wheaton, IL. He graduated from Mason Gross School of the Arts, Rutgers University. He has been included in solo and group exhibitions in Los Angeles, New York, Miami Toronto and Zurich. This is his second exhibition with Bucket Rider. Read on... BucketRider, Chicago |
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ROEBLING HALL, New York
AUGUSTO ARBIZO - RORSCHACHS Roebling Hall is pleased to present the inaugural solo exhibition of its second Chelsea space with new paintings by Philippine-born, New York artist, Augusto Arbizo. Featuring half a dozen recent medium-scale paintings, Arbizo’s canvases move brightly if a bit ominously between abstraction and representation, while remaining firmly within a pop/post-pop tradition that unabashedly engages acid color, fluid line, and a welter of cultural references that run from Op Art and 60s psychedelia to psychoanalysis. Taking the Rorschach Test¾a psychological test in which a subject's interpretations of abstract designs are analyzed as an indication of personality traits, preoccupations and conflicts¾as a starting point, Arbizo works formless blots into ever more refined shapes through the use of flat, gradated color as well as a signature method of repeated patterning. Informed and inspired by, among others, the prints of Hokusai and Hiroshige, 60s color-field abstractions, the Viennese designs of Dagobert Peche, and the disparate but related works of Burchfield, Agnes Pelton, and Hilma af Klimt, Arbizo’s expanding and inward-looking forms variously appear as simplified landscapes or nature-inspired designs. Denoting, among other things, the presence of a certain romantic, even occult sensibility, Augusto Arbizo’s new works present simple accidental shapes in the guise of orchids, raucously colored forms that remain, above all, gorgeously open to the eye. Read on... ROEBLING HALL, New York |
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Next from re-title.com The next re-title.com newsletters are scheduled for: Mid September 2006 - Sculpture / Installation Late September - Focus Ahead Please contact us to arrange inclusion in these newsletters contact us for more information |
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