For more details, press release and images visit Galerie Zink here.
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From the category archives:
alumni news
Larry Poons is the subject of a mini-retrospective in upstate New York at the Sam & Adele Golden Gallery. Befitting a pioneer of acrylic paint, the recently opened exhibition space is on the grounds of the Golden Artist Colors paint factory complex in New Berlin, major producers of handmade and custom-designed artists’ pigments. On view through Nov. 19, “Larry Poons: Velocity”—organized by Jim Walsh, with painter Paula DeLuccia, Poons’s wife—features seven large-scale acrylic-on-canvas paintings (up to 9-by-14 feet) from the years 1975 to 2009.
Read the whole article here.
Visit the Sam & Adele Golden Gallery online for more details and images here.
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Triangle Arts Association is pleased to present the work of two of our Artists’ Workshop alumni, Eve Bailey and Albert Pedulla. The exhibition opens Thursday, September 1, 6-9pm at 111 Front Street Galleries, Suite 222.
How does an artist’s mark derive its power? Using a variety of media, Bailey and Pedulla examine the relationship between body and mind from opposite ends of the spectrum.
Bailey employs the body as a “perceiving mechanical structure” that serves to “express the elegance of a gesture,” a device reaching beyond the physical products conceived of and executed by the mind. The works she makes are preparations that seek to instigate an opportunity for the body to complete them. Series of 1/4 Scale Maquettes is a sculptural document of her process to create a form upon which the body can perform a sequence of movements.
In other works such as Shoulder Path, Drawing Bailey records a predetermined movement by marking her body with paint. The resulting work serves as a blueprint of an abstracted moment in which the body has moved through space.
Conversely, Pedulla focuses on the mind seeking to form an “epistemology of the artist’s mark”. In Extracted Wall Drawing #3 (Path) a representation of a walk he took is rendered and then dissected. Remnants of his thought process are portrayed in intricate threads literally pulling apart the initial route moment by moment.
In Double-Portrait (Meg #1, #2, #3) Pedulla takes the process a step further by using the body as a space upon which the mind can make a mark. In this instance Pedulla literally burns an image onto a human body by creating a photographic negative and exposing it in a tanning bed using the model’s skin as the photosensitive material. This process which he refers to as a “tanograph” is framed in a manner that excludes almost any indication that the image exists upon a human body but eerily aligns the model’s naval with the mouth of the image.
Despite these seemingly opposite approaches, both artists’ processes converge around an underlying similarity. Bailey’s Work Force and Pedulla’s Public Rectilinear Form (Modernist-Post) share a conceptual space in which both artists entertain a state of being that exists beyond mind or body. In Bailey’s piece, a precarious if not dangerous sculpture is constructed that she then climbs atop and walks upon. A palpable tension is felt as she confidently but slowly traverses the structure. This tension between the focused concentration upon the act and the simultaneous disregard of its potentially harmful outcome incites the viewer to contemplate the meditative state necessary to execute this performance. Similarly, Pedulla’s piece creates a space in which to consider the conflicting notions of intention and intuition. He subverts the tradition of the over intellectualized and rarified artist’s mark by capturing the off-the-cuff gestures of passers-by and framing them within the context of the Modernist monolith. With a schoolhouse twist, he takes off the white gloves and glorifies the purely instinctive human tendency to express oneself.
Considering these works together, it becomes apparent that there is a state of being that neither the body nor the mind can fully fathom. Perhaps another state exists between the physicality of the body and the relentless activity of the mind; a space where the actual mark is formed and from which it derives its power of expression.
The exhibition will be open until September 15 and we will be holding regular gallery hours Tuesday-Saturday, 12-6pm and appointment.
In addition since this exhibition is only two weeks, we will be holding a closing reception on Thursday, September 15 from 6-9pm.
111 Front Street, Suite 222 = Triangle
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This book is a tribute to Dada – Coex’ae Qgam, a Naro artist, story-teller and dancer from the Kuru Art Project, D’Kar, Ghanzi District, Botswana. Dada was an extraordinary woman, painter and printmaker. She died in 2008 at the age of 74 knowing that Ann Gollifer and Jenny Egner would make good their promise to publish a book on her life and work, a project that they have worked on together with Dada since 2002.
Ann Gollifer and Jenny Egner compiled and edited a series of conversations and interviews with Dada and her community, that took place over a period of 6 years, with the publication of a book in mind. The book documents important personal episodes in Dada’s life as well as her opinions on her work as a painter and printmaker, her relationship with her friends and family and her precious memories of times past.
For more information and a full download of the press release visit:
https://secure.bicha.co.uk/future-exhibitions.html
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The exhibition will run from September 3 – October 15 and will feature some of his large and small sculptures.
For more information or to view the catalog written by Robert Kudielka visit:
http://www.galerie-gerken.de/
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French-born new york-based artist eve bailey’s work is based on the concepts of balance and coordination. Her studio practice is rooted in the tradition of the artist engineer while extending to the disciplines of dance and acrobatics.
The body interests her as a perceiving mechanical structure. She uses her own body as a primary tool to create pieces that experiment with equilibrium through physical, mechanical, plastic and conceptual means. She conceives functional devices that do not serve a practical purpose. Each project is developed through performances, drawings, maquettes, sculptures, photographs and videos.
Read the full post and see more pictures here.
Visit Eve on the web here.
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On August 11th “Oiler” was installed at Montague Park in Chattanooga, TN.
The installation is part of a larger renovation of this former brown field site. The sculpture side of this endeavor is headed up by John and Pamela Henry and will prove to be another great example of how public art can transform blighted locations into wonderfully useful public space.
Additionally, “Sprung” was sited to a new public park on Staten Island this June. The park is located at the intersection of Glen St. and South Ave. The work will be on loan until 2012.
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General León 48 esq. General Cano. San Miguel Chapultepec
Towards a possible architecture
If we consider Le Corbusier’s saying about the practice of architecture – passion can create drama out of inert stone – we can understand Ricardo Rendón’s starting point. He is a sculptor who wanders and experiments with the trades related to architectural construction, and who seeks to breathe fresh life into the languages of his own discipline. His intention is to reposition his platforms as three-dimensional space, without ceasing to be sculpture.
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This exhibition (ongoing) will host an opening event Wednesday, July 20th at 8pm, in participation with the 16th Bienal de Cerveira.
Information about the biennial can be found here.
The gallery is located at:
Rúa Policarpo Sanz, 15
Vigo
Spain
Visit Catarina on the web at:
http://www.catarinaleitao.net/index.html
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