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Showing posts from July, 2011

Group Show "The New Verisimilitude" at Francois Ghebaly, Los Angeles, California

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“Art is the lie that tells the truth” – Pablo Picasso

François Ghebaly Gallery and M+B are pleased to announce The New Verisimilitude, a two-part group exhibition across both gallery spaces, curated by François Ghebaly. This exhibition explores new approaches to realism in the contemporary practices of ten artists working in different mediums (painting, sculpture, video, and performance), with each work manifesting a different approach to verisimilitude.

Italian historian Bartolommeo Fazio first formally described verisimilitude, the appearance of truth, in a discussion of a Jan Van Eyck painting in the fifteenth century. In a description of a triptych by Van Eyck, the Genoese humanist noted an Angel Gabriel with “hair surpassing reality” and a donor lacking “only a voice”. Since this first contextualization, verisimilitude has been closely associated with aesthetic representation, and the very idea of verisimilitude in art has evolved alongside technology: first defined through paint…

"IT'S GREAT TO BE IN NEW JERSEY" CURATED BY GARDAR EIDE EINARSSON at Honor Fraser, Los Angeles, California

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JULY 16, 2011 — AUGUST 27, 2011















2622 S. LA CIENEGA BLVD.
LOS ANGELES, CALIFORNIA 90034

T: 310.837.0191
F: 310.838.0191
www.honorfraser.com

MATT CONNORS, ROBERT CUMMING AND FLORIAN MORLAT at Cherry and Martin, Culver City, California

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For this exhibition, Matt Connors and Florian Morlat invited Robert Cumming to exhibit the photographs he made in Los Angeles in the early and mid-1970s. Like many conceptual photographers, Cumming embraced the photograph as an objective tool to document his narrative conceptual impulses. However, his photographs are separated from those of his peers John Baldessari and William Wegman by his interest in the construction of the photograph itself, especially with regard to the picture plane. At his house and in his backyard, Cumming built elaborate set-ups that when photographed resolved themselves to present odd tableaux that were concise and open-ended, serious and funny, obvious and mysterious. The photographs he took resonate today with the same uncanny wit and authority they had when they were made. The exhibition, Matt Connors, Robert Cumming, Florian Morlat, presents an open-ended dialogue concerning the structure of art objects and how we look at them.

Matt Connors’ work is curr…

Alison Rash / Chris Trueman: The Suspended Literal at Autonomie Projects, Los Angeles, California

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In their new show at Autonomie gallery in downtown Los Angeles, Alison Rash and Chris Trueman engage in a dialog between form and line, color and composition, and pattern and design. Rash's works on paper consists of line and form, interspersed in pattern and design. The works are well done. Rash visually engages in the viewer's belief of form and design in a playful manner that teases and challenges at the same time. Trueman's paintings are Rothko-esque in their composition and color. The paintings challenge the viewer into looking deep into the painting while taking the viewer to another dimension. They are airy and almost mystical in nature.  However, unlike Rothko, Trueman's paintings formulate shape and composition so that the viewer recognizes the strategy of what the artist wants to convey. The paintings communicate a structure that demands of the viewer its attention. Both Rash and Trueman take different approaches to abstraction and engage the viewer and each …

“Through a Glass Darkly” Tim Braden, Daniel Pitin, Ciprian Muresan and Hugo Wilson: Group Show at Mihai Nicodim Gallery, Culver City, California

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Curated by the British art critic and curator, Jane Neal, the exhibition brings together four of the most dynamic and intriguing young artists working in Europe today: Tim Braden, Daniel Pitin, Ciprian Muresan and Hugo Wilson. The title of the show is taken from a verse in the Bible (1 Corinthians 13). It references the blurry confusion of life in light of the future clarity of heavenly perspective. The phrase also served as the title for Ingmar Bergman's 1961 film involving four characters, each of whom offers an insight into the mind and actions of the others, thus serving as a kind of “mirror”.
Taking place on a bleak Swedish island over an intense, 24 hour period, the film charts the descent into madness of Karin, the main protagonist, and witnesses the often desperate actions of the remaining three characters: Karin's husband (and psychiatrist), her absentee father and her highly-strung brother. Karin's obsessive watching of the wallpaper in her room, and her “fate” at…