STERLING RUBY – WIDW AND DRFTRS

Posted on 2018-09-24

Ruby’s DRFTRS and WIDW series are two ever-evolving bodies of work that bear witness to the artist’s intense relationship with materials and his interest in issues such as sociocultural evolution, popular culture, and violence. Executed on paper, the DRFTRS (an acronym of ‘drifter’) are hybrid collages in which cut-and-pasted images occupy expressionistic landscapes. These nomadic elements, drifting through painterly space, are extracted from a vast image bank compiled by the artist. They reveal a myriad of current preoccupations including protest posters, horror movies, arts and crafts, album covers, orchids and poppies, snakeskins, stalagmites and stalactites, skulls and bones, prisons, archaeological excavations, and ancient artefacts. The painted backdrops, in palettes of red and green; red, white and blue; oranges; yellows; and murky blacks, veer from dense and apocalyptic to sparse and vibrant. Combined with the photographic images, they create a psychological tension that channels the contemporary zeitgeist. Ruby has described collage as an ‘illicit merger’, thereby highlighting the transgressive nature of the medium. He makes a visual and conceptual link, for example, between those incarcerated in the American prison system, and images from archaeological sites, equating both to burial. In this sense, the collages are analytical and emotive, an exercise in social dissection that inhabits a haunting formalism, heightened by stark and splattered brushwork, and a visceral use of colour.

Opposite – WIDW. RED SPITTING., 2018

Exhibition runs through to October 20th, 2018

Xavier Hufkens
St-Jorisstraat 6 Rue Saint-George
B – 1050 Brussels
Belgium

www.xavierhufkens.com

  

NIKE COLIN KAEPERNICK REFLECTIVE T-SHIRT

Posted on 2018-09-24

The long sleeve black tee features a Kaepernick patch at the bottom left corner joined by a reflective Nike logo on the sleeve and 3M detailed “KAEPERNICK” across the back. More intimately, on the inner sleeve, “believe in something, even if it means sacrificing everything” calls out to Colin’s ultimate sacrifice.

www.nike.com
kaepernick7.com

  

ALBERT OEHLEN – SEXE, RELIGION, POLITIQUE

Posted on 2018-09-24

Since the 1980s Oehlen has been probing the possibilities of painting through an everevolving style and technique. At the core of his practice are the limitations he imposes on himself as a point of departure, in order to have ‘something to push against’ and thereby expand and redefne our understanding of painting. In this new body of work, Oehlen demonstrates the consistency of his approach in setting narrow parameters to create stark and powerful imagery that highlight his will for constant renewal. “Freedom for me means playing. It does not mean to be in a void and make crazy moves. It means to play with your own rules.” In the new paintings eccentric shapes and forms fLoat untethered on the open surface. The self-appropriation of the tree motif and an allusion to the Fingermalerei (Finger Paintings) paintings is consistent with Oehlen’s continual quest to reveal the process of painting and what occurs on the pictorial surface during that process. The tree motif fIrst appeared in Sturmschaden in 1981 and again in the late 80s. It was at the same time that Oehlen was exploring the formal possibilities of the tree that he made his fIrst purely abstract paintings in 1988.

Opposite – Bam Bam, 2018

Exhibition runs through to December 21st, 2018

Galerie Max Hetzler
57, rue du Temple
75004 Par

www.maxhetzler.com

  

JENNY ODELL – NEO-SURREAL

Posted on 2018-09-24

Neo-Surreal is a body of work by the American artist and writer Jenny Odell. Odell completed this volume of work whilst artist-in-residence at the Internet Archive in 2017.

During her residency she came across a huge cache of the influential American computer magazine, BYTE, the covers of which playfully represent how commercial illustrations depicted computer culture in the 1980s. Odell extracted surreal imagery from the magazine ads and reconfigured this material into an image sequence that portrays the metaphors of computational culture at the time. Viewed in hindsight, and considering today’s technological present, these images embrace the surreal aspects of everyday technological objects while they also present the ways that the digital future was imagined 30 years ago.

Opposite – You Are Under Arrest. From the series Neo-Surreal, 2017

Exhibition runs through to October 24th, 2018

The Photographers Gallery
16 – 18 Ramillies Street
London
W1F 7LW

thephotographersgallery.org.uk

  

KURT MARKUS – MONUMENT VALLEY 2002-2017

Posted on 2018-09-17

Monument Valley is located at the four corners region spanning Utah and Arizona on the Navajo Nation Reservation. Tse’Bii’Ndzisgaii, the Navajo name for Monument Valley meaning ‘clearing among the rock’, spans five square miles with fragile pinnacles of rock of sandstone that tower up to 1,000 feet. For hundreds of years, the Navajo have raised livestock and farmed small quantities of crops in the valley. Not just a place of habitation and livelihood, Monument Valley has significant meaning to the many Navajo who took refuge in the valley when forced out of Canyon De Chelly by the U.S. Army during the “Long Walk.” An 1868 treaty allowed their return to their ancestral homeland and established the Navajo Reservation. Other parts of Monument Valley have been added to the Navajo Reservation over time. Today, an estimated 100 Navajo people live in the valley. Monument Valley became popular with Hollywood when John Ford’s first of many movies, Stagecoach, was shot there in 1938, starring John Wayne, and making him a star, as well as putting Westerns in a respected film genre.

Kurt Markus made his first trip to Monument Valley in 2002, thanks to an assignment from Conde Nast Traveler, British edition. Kurt confessed he had no idea what he was in for on that first visit, thinking it a tourist’s destination and a backdrop for director John Ford’s well-know Westerns. For Markus, the John Ford film, The Searchers, “touched a rawness that, if you know a bit of the West you could watch John Wayne rage across the landscape and not be embarrassed by bad costumes and corny dialogue. Ford finally made the film only he could have made.”

Opposite – Monument Valley, 2011

Exhibition runs through to October 20th, 2018

Obscura Gallery
1405 Paseo de Peralta
Santa Fe
87505 NM

www.obscuragallery.net

  

HARRY CALLAHAN – STICKS AND STONES

Posted on 2018-09-17

Featuring over 30 gelatin silver prints, the exhibition considers Harry Callahan’s photographic exploration of the natural world, from his initial experiments in Michigan in the early 1940s to Georgia landscapes made in the 1980s and early 1990s following his retirement from teaching. When viewed collectively, Callahan’s black-and-white studies of weeds, grasses, branches, and rocks masterfully demonstrate his ability to evolve a single genre over time by revisiting and expanding his conceptual and technical discourse.

One of the foremost American photographers of the 20th century, Callahan (1912-1999) learned to find visual inspiration in the natural forms of local landscape from photographic luminary Ansel Adams, whose technical mastery and environmental reverence Callahan greatly admired. When Callahan saw Adams’ remarkably rich and highly detailed 8 x 10” prints in the early 1940s, he asked Adams how he had achieved such results. Adams shared that he used a large format camera, made contact prints from the negatives, and photographed in his backyard – Yosemite.

Joshua Lutz

Opposite – Wisconsin, 1958

Exhibition runs through to October 20th, 2018

Pace/MacGill Gallery
537 West 24th St
New York
10022 NY

www.pacemacgill.com