blinnk

Saturday, June 11, 2016

at the edge, Ille Arts

DAN CHRISTENSEN

Minimalist Drawings + Paintings

ELAINE GROVE

Sculpture

A stunning show of sculpture and early minimalist works sprawls across Sara De Luca's new gallery space at Ille Arts in Amagansett. A must see, this is the final weekend of an exhibit that sheds light on the late artist Dan Christensen (1942 - 2007) and the poetics of Elaine Grove, whose inventive sculpture anchors the room with a protean energy. A near perfect union of Grove's collage motifs and Christensen's early Bar Paintings, the show allows both artists, married for 28 years, to shine.

Elaine Grove, Relax, 1998, welded steel

Grove's sculpture moves from lively constructivist notions to gestural drawings in space. Three sculptures in the center of the gallery lay across white pedestals, their assembled steel parts burnished to pitch black. Severe and elegiac, the works invoke discarded armaments, conjuring metaphors both biblical and from Greek mythology.

Food Chain, 1991, cast and welded steel and iron

In the window, Grove's Food Chain, 1991, cuts a swath between the positive and the negative as it slices into ambient space. Animated, gestural and captivating, the work establishes a pictorial motif in which found objects traverse the circumference of a meandering steel line. Balanced on a horizontal bar, the enclosed elements create a narrative of whimsical, gesticulating component parts.

Repose, 1998, welded steel and cast iron

A sublime installation of little known works by Dan Christensen exposes the reductive side of an artist celebrated for pioneering works that helped shape post-war American art. Christensen was always acutely aware of the surface, often creating paintings on unstretched canvas with the unlikely use of spray guns, squeegees, masonry trowels and turkey basters.

Untitled, 1966, acrylic on masonite

Breaking ranks with the traditions of high abstraction, Christensen's artistic evolution begins here in algorithmic sequences that lay so close to the painterly surface they possess an almost textile-like quality. Meticulous and resolute, the works possess the sort of casual authority that lays claim to an image field that seems to expand without end.

The works, dating from 1966 to 1968, expose the early thinking of an artist whose metamorphosis in Color Field painting and lyrical abstraction would expand the possibilities of painterly abstraction.

12 Studies for Bar Paintings, 1966, pencil, ink, tape, gouache on ledger paper

In selected studies, Christensen, who is represented in New York by Berry Campbell Gallery, reveals the essential plug-ins of this early work. Using minimal means -- pencil, marker, gouache and tape on graph paper -- these idiomatic musings offer a glimpse into a rich and varied oeuvre marked by discovery, tenacity and brilliance.

Untitled, 1966, acrylic on Masonite

Study for Bar Painting, 1966

Hard Time, 2015, wood and steel

Final chance to see this wonderful show -- open through June 15th.

Ille Arts
171 Main Street
Amagansett, NY

Sunday, June 21, 2015

shed a little

Labels: East Hampton, Hadley Vogel, Nate Hitchcock, Russell Tyler, Trudy Benson

TRUDY BENSON / RUSSELL TYLER

East Hampton Shed

Trudy Benson, Yellow Shade, 2015, oil and acrylic on canvas

Tucked away among a forested stretch off Buckskill Road, East Hampton Shed is changing the way we think about the barns and outbuildings dotting the back forty of homes on the East End. Four years ago, Hadley Vogel and Nate Hitchcock transformed a modest structure behind the Vogel Bindery into a space so crisp and white it's suitable for framing.

East Hampton Shed, behind the Vogel Bindery in East Hampton

More than a lean-to, less than a guest house, the Shed has morphed into a micro-gallery exhibiting some of the most interesting young artists between here and Mexico City. Exhibitions have included Lauren Luloff, Landon Metz, Brian Kokoska, Rebecca Ward, Abigail Vogel and Jean-Baptiste Bernadet, among others. Two Brooklyn-based painters, Trudy Benson and Russell Tyler open the season this year.

Russell Tyler, BBPG, 2014, oil on canvas

The evolution of the Shed goes back a way. While studying at Chicago's Columbia College, Vogel began to adapt a curatorial platform. Drawing on Chicago's do-it-yourself aesthetic, she mounted an apartment gallery, maintaining it for three years. "It was a labor of love," she said, noting that the gallery came long before her knowledge of the art market.

Hitchcock and Vogel eventually teamed up, and their shared affinity for contemporary art led them to Mexico City, drawn there in part by Gerardo Contreras's groundbreaking Preteen Gallery. Since then they've mounted off-site events and exhibitions and participated in art fairs in Miami, New York and Mexico. Hitchcock, also an independent curator, has organized shows at galleries such as Johannes Vogt in New York and LA's Honor Fraser.

detail, Benson's Yellow Shade, 2015

Back at the Shed, single works by both artists activate this dynamic space. Benson's work is a layered melange of calligraphy, cutaways and viscous swaths of pigment, with strata of gestures pushing forward and sliding back at the same time. Fast paced and blithely haywire, Yellow Shade is a meditation on destabilization.

While the pictorial field is filled with spatial ruptures, formally the painting thrives on compositional rejoinders like background, foreground and middle ground -- its cacophony yielding to formal balance.

Benson's strategy is frisky, skillful and tight. She lays down a ground of sprightly lines, creating a hazy playground of airbrushed doodles that pop in an out of focus.

Mid-ground, abstract shapes function like architectural gateways that both anchor the image field and act as a window into the painting.

In the foreground, contours of extruded pigment fly over the surface, marking the field like Nazca lines. The effect is radiant and dizzying.

Trudy Benson

Russell Tyler and friend

On an adjacent wall, Russell Tyler's painting BBPG is ravenous, imbued with an explosive painterly finesse. In his rigorous studio practice Tyler has moved nimbly from the figurative to geometric abstraction, continuing outward from there, always with a long interpretive glance.

Known for paintings that possess a raw structural precision and evocations of obsolete technology, vintage computer graphics and video games, his abstractions convey a deep sense of nostalgia.

Russell Tyler, BBPG, 2015, acrylic and oil on canvas

Tyler's appreciation of mid-century American abstraction is also nostalgic, and it taps into Reinhardt, Hoffman and Still with a distance that is reductive, refreshing and free of post-modern angst. In figural works he has referenced Goya, and here, BBPG is a tour de force homage to Phillip Guston, abstract expressionism and the New York school.

His material sensibility is one of such viscidity and so much depth that the paintings veer toward the sculptural, possessing a powerful physical presence.

With a palette that's more Dow Chemical than, say, Per Kirkeby's naturalist, feel-good coloration, Tyler's synthetic colors source the likes of TV screens, patio furniture or plastic refuse. Not unlike Guston, his exploration of color gradients is often limited in tone and hue.

In BBPG, Pepto-Bismol pinks rub shoulders with blacks and a range of baby blues, cobalt and Payne's gray. The effect is stunning, with blues and grays commingling dead center in a collision of slurpy clouds, painterly schisms and muscular, effusive marks. Tyler is a painter's painter.

Watch for the next iteration at the East Hampton Shed -- it's sure to be memorable.

Tuesday, May 5, 2015

if walls could talk

Labels: Adam Marnie, Ben Morgan Cleveland, Brie Ruais, Donna Huanca, East Hampton, Elise Adibi, Halsey McKay, John Riepenhoff, Kate Gilmore, Keltie Ferris, Reuben Lorch-Miller, Ryan Steadman

PERFORMATIVE PRACTICE

curated by Ryan Steadman

at HALSEY McKAY

Donna Huanca, MOM, 2015, Paint and latex on reflective material, 47 x 39 x 2 in

If I were a wall, I can't imagine a fuller purpose than to be the thing that artists push against in the creative act. To feel all that psychic and intellectual muscle rubbing against, bearing down on, crushing into one's surface -- what a marvel that would be. Even better if evidence of the act, no matter how simple, was left in its wake, like a vestigial stamp -- neither past nor present -- an indicia robust enough to be both representative of itself and of its own creation.

Distinct from performance, the performative in art implies a relationship to the viewer as well as to action, reaction and result, and it asks the audience to engage in a different kind of discernment. Of action painting, Harold Rosenberg famously called the canvas "an arena in which to act," noting its inherent theatricality. The canvas is an apt metaphor for artists working in a closed system where aesthetics and methodology are so closely linked.

Recently, a young artist talking about his work said to me, "the content is that I do it." So there. Situational, event driven, documentary; the new performative is not parenthetical, it is the parentheses.

At Halsey McKay in East Hampton, the nine artists in Performative Process offer works focused on the provocations, signifiers and trace elements resulting from actions inside distinct sets of circumstances. Organized by the artist, writer and independent curator Ryan Steadman, the show delivers a lively examination of process, theater and action.

Donna Huanca creates installation-based works that draw from her travels, and from memory, motion and gesture. Huanca's MOM, installed in the upper level gallery, included an interactive performance by a pigment-drenched model. As in other works by this Chicago born artist, the human form embedded in the installation functions more as a collage element than than a theatrical one, but it is dramatic, nonetheless.

Mostly still, when the model did move she pushed against a gallery wall leaving behind a soft violet pentimento. The live painting is a sort of paean to the collaborative process, and its nuanced afterglow offers a glimpse of the intersection of visual art and performance.

Keltie Ferris, L: Venus of Tan-Tan, R: Animal; both 2013-2014, oil and powdered pigment on paper, 40.25 x 26.13 inches

It's refreshing to see Keltie Ferris step away from the fantastic, hallucinatory abstractions for which she is known. Here she addresses figuration in body prints that recall X-ray technology, Rorschachs and the snow angels we made as kids. Raking inky body parts across broad sheets of paper, she leaves behind shadowy after-images of thighs, bellies, breasts and torsos. The results are life-size, ghostly and transformative, calling to mind Yves Klein's "Anthropometries" and the popular death masks of the Quattrocento.

Ben Morgan-Cleveland, Western Rat, 2014, Dirt, debris, binder on burlap, 55 x 120 in

Ben Morgan Cleveland virtually throws himself under the bus to achieve works that exude the grit and pace of city life. Cleveland places assembled sheets of burlap along the busy cobblestone roadways of industrial Brooklyn. As non-stop traffic pounds over the sheets en route to the Brooklyn Queens Expressway, the fabric absorbs weeks of non-stop traffic and brutal weather. By the time Cleveland retrieves them they're painted with an urban slag that feels ancient, as if pulled from the hands of the cave-dwellers and poets that live underground. Their patina carries in it an aspect of the urban psyche, and on the white wall they feel like a memento mori or an ode to urban decay.

Kate Gilmore, Break of Day, 2010, Video, 18 minutes 24 seconds, ed. 2/5

Similarly excruciating and yet sublime, the artist Kate Gilmore slogs through absurdist situations of her own design in performance and works in video, sculpture and photography. In her work, the artist devises ridiculous, often insurmountable physical challenges. Then, dressed in a stylish cocktail dress and pumps, she takes on these self-imposed objectives, often at her own peril. With her allegiance divided between exhaustion and devotion, she embarks on dueling resolutions that anxiously tyrannize the politics of gender, equality and correctness.

In Break of Day, the artist transports gallon after gallon of fuschia paint up a precipitous set of stairs, only to throw each container overboard into a void of structural beams below. Everything breaks, all the paint flies, and the artist, clearly exhausted, is triumphant, if only in the futility she achieves while meeting the directives in a predetermined set of circumstances.

Elise Adibi, Gold and Osage Aromatherapy Painting, 2014, Rabbit skin glue, gilding glue, 24-karat gold leaf. osage pigment, oil paint and myrrh, bergamot and cedar wood essential plant oil on canvas, 20 x 20 in

Responding to the lack of natural smells in the Bushwick neighborhood Elise Adibi lived in some years ago, she began an investigation of aromatherapy. Her paintings, an amalgamation of grids, oil paint and plant oils, not only smell good they are evocations that carry the process and the act within. Adibi doesn't think of herself as an abstract painter; her works attempt to be nothing more than a record of her pourings.

Brie Ruais, Two Gather (Two Pushes Merged) 268 lbs., 2015, Glazed ceramic, hardware, 84 x 43 x 15 in

Brie Ruais's voluptuous Two Gather (Two Pushes Merged) 268 Lbs, towers among the ground floor installation. Its surface, a briny melange of metallic sheen, footprints and raw physicality yields to the afterglow of what looks like a mammoth struggle between human endeavor and wet clay.

Ruais also employs a rule-based system that functions within strict boundaries (only so much clay; only a specific angle; just to a certain height, etc.). The creative act takes place inside these margins, complying with the instructions of its making. For instance, the work above references "two" individuals, their combined weight a mere "268 lbs;" each pushing their own mound of clay upward and then merging both elements into an upside down "V." The results chronicle a peer to peer search for the self, as if the two artists were pushing on the earth from the inside out.

Like other artists that have worked in and around instruction-based media -- Susanne Lacy, Sol LeWitt, Kate Gilmore -- the environment Ruais creates folds into itself to become a third thing, the way a glacial rock forms under pressure.

Reuben Lorch-Miller, Untitled, 2011, ceramic, 11 x 5 x 6 in

Reuben Lorch-Miller and Adam Marnie also impose an artistic autocracy on works that possess aspects of formal precision, balance and austerity before havoc is wreaked on them. Lorch-Miller's ceramic sculptures feel like ritual objects, their planar structure sharing formal concerns with the likes of Richard Serra and Anthony Caro. Scorched in a cinderblock kiln, the small sculptures appear ancient, and yet for all their formal balance and materiality they exude a restless ambiguity.

Adam Marnie, Last of the Mohicans, 2015, Hardwood maple, wood putty, spray paint, 63 x 3.5 x 5 in

Likewise, with its precise geometry collapsed at the site of a decisive clobbering, Adam Marnie's Last of the Mohicans offers a glimpse of the artist's DIY minimalism and architectural intervention. Its clean lines shattered, the diagrammatic calm is torn asunder.

Back to the sublime, Milwaukee-based artist John Riepenhoff paints the night sky in real time, with little more than a small lantern to guide his eye and hand. Plein Air (East Hampton), shown below, was painted here on the East End in the dark of night. As Riepenhoff channels the natural world and its 19th century proponents, the scumbled surface and loose gestures also conjure Dadaism, automatic writing and a painterly choreography that is based in the performative.