Kathryn Andrews juxtaposes legacies of pop art and minimalism, creating works in which the experience of materials prompts the viewer to reconsider how subjectivity is constructed in contemporary culture. Her work often combines fabricated forms with readymade objects sourced (or seemingly sourced) from Hollywood prop shops, memorabilia stores, party supply outlets and other commercial venues. Rife with socio-economic associations, these readymades pit popular and/or symbolic value against experience of the sculptural whole as material artifact.
The title of the show, D.O.A. | D.O.B. (dead on
arrival / date of birth), points to the creation and annihilation that
is at stake when images, physical forms, and personae are understood as
fixed versus non-fixed entities. It will feature three floor-based
sculptures and three wall-based sculptures that incorporate polished
stainless steel forms which support, surround, and complicate both found
and fabricated objects. Their mirror-like surfaces, meanwhile,
transform each into a visual essay on the act of viewership itself, and
implicate both viewer and artist as active agents in each piece.
Still Life (Woman with Fruit), for example, consists of a
human-scaled stainless steel tube that supports a headdress made of
artificial fruits and vegetables. From afar, the object sets up a
humorously paradoxical relationship between the industrial, polished
cylinder and the ersatz organic matter perched on its 'head'. However,
the sculpture is in fact designed to serve as the site of a performance,
in which the activated work becomes a complex composition of interiors
and exteriors, tangible and projected presence, and lineages of both sculpture and painting.
Painting is also addressed in a series of three inter-related wall sculptures
that resemble windows. In these works, the line between fabricated and
existing forms is complicated by the stickers that adorn them; each
features a unique image of a clown surrounded by imagery specific to one
of the four seasons, thus raising questions about how the passage of
time can become an active part of otherwise static objects. Based on
manipulated versions of found imagery, the stickers represent condensed
moments of painterly composition within the rectilinear window
frameworks. Furthermore, they are modeled after decals used to alert
emergency responders to the presence of children (each work is titled Tot Finder),
so that an implied body behind the window competes with the viewer's
experience of his or her own reflection upon its surface.
Throughout the show, images and reflections are intimately fused to the
materials on and in which they appear. Nowhere is this more apparent
than in Lethal Weapon, a work which at first seems to be no
more than a tall stainless steel cylinder with a small hole. Looking
into the darkness of the cylinder's interior slowly reveals that it
contains a pistol pointed at the viewer, and only upon reading a
description does he or she realize that this is a gun used on the set of
the film that shares its title with the piece. The formal vocabulary
of minimalism conceals the most loaded and symbolic of popular objects,
and the absences represented by the tube's opening and the gun's barrel
threaten to override an otherwise overwhelming experience of materials
and cultural references.
In 2013, Kathryn Andrews will be the subject of a solo exhibition at
Museum Ludwig, Cologne. Earlier this year she was included in Made in L.A. 2012 organized by the Hammer Museum and LAXART, Hammer Museum, Los Angeles; First Among Equals, ICA, Philadelphia; and When Forms Become Attitudes,
CCA Wattis Institute for Contemporary Arts, San Francisco (traveling to
the Museum of Contemporary Art, Detroit). Other recent exhibitions
include American Exuberance, Rubell Family Collection, Miami; Modify, As Needed, MOCA, North Miami; and George Herms: Xenophilia (Love Of The Other), MOCA, Los Angeles. She has also created numerous performance works; in 2012 these have included Voix de Ville at Art 43 Basel and Fork Hunt at Graystone Mansion, Los Angeles (organized by LAXART). Andrews lives and works in Los Angeles.
David Kordansky Gallery
3143 S. La Cienega Blvd. Unit A
Los Angeles, CA 90016
Thursday, December 20, 2012
Kathryn Andrews "D.O.A./D.O.B." at David Kordansky Gallery, Culver City, California
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