TIMO FAHLER – SLOW RELIEF

Posted on 2017-08-07

This new body of work builds upon his sculpture-based practice of inquiring into the formation of individual and collective identities as physical, psychological, and social beings. Through wall works and architectural sculpture, this new work references the physical structures of the human body while reflecting on the ways in which bodies read and record the information around them. The poured, swaddled, filled, and layered artworks convey distinct relationships between formation, time, and their material composition.

Opposite – logic study, 2017

Exhibition runs through to August 26th, 2017

670 S Anderson Street
(entrance on Sunrise St)
CA 90023
Los Angeles

ibidgallery.com

  

LIAM GILLICK

Posted on 2017-07-31

Titled Were People This Dumb Before TV? A Curated Selection from the Graphic Archive, 1990–2017 the exhibition gives a comprehensive overview of Gillick’s extensive graphic work which has been an integral part of his practice since the early 1990s. The artist has produced a wide range of graphic material, including prints, posters, books, magazine covers and inserts, invitation cards (both for his own exhibitions and those of others), maps, logos and identities, both for public institutions and commercial art galleries. Conceived as a living archive, in addition to new and existing editions, the exhibition will create a set of reference prints of lost or difficult to source works.

Opposite – Dear Diary, 2017

Exhibition runs through to August 12th, 2017

Esther Schipper
Potsdamer Strasse 81E
10785 Berlin
Germany

www.estherschipper.com

  

FARAH ATASSI

Posted on 2017-07-31

Atassi’s canvases contain deeply considered anachronistic montages, allowing for a range of art-historical references—from designers such as the Memphis School to older movements within painting such as the constructivists and cubists—to commingle on the surfaces and beyond. Throughout her bold and expansive pictorial worlds, Atassi’s geometry and icons function as meta-languages.

In fact, Atassi describes her work as “space and object” painting, as the rectangles are literally anchored on the walls while the accumulation of lines and forms sprawl out into any particular space in which they are displayed. She conceives them as an act of staging—the figures dance a notated choreography; the objects dangle in suspense. The action, or potential for action, contained within each picture is a recollection of previous moments in time—lasting snapshots of creative progress relayed in order to rattle the natural cyclical static state of art-making. By willfully and playfully acknowledging these antecedents, she also wisely and powerfully acknowledges her own complicity in the chain.

Opposite – Still Life with Guitar, 2017

Exhibition runs through to August 12th, 2017

Ghebaly Gallery
2245 E Washington Blvd.
CA 90021
Los Angeles

ghebaly.com

  

SOFI BRAZZEAL – HI CRUEL DAME, ADIEU MR. LECH

Posted on 2017-07-31

The exhibition will include oil paintings and works on paper.

There is no given theme or motif except the insistent, incessant treatment of the figure, and groups of figures, and indeterminate manifestations of power between them.

Often depicted in closed rooms or close quarters, the figures in Brazzeal’s work abandon any pretense to civility and decorum. Mired in ennui, some figures seem to putter casually about the spaces they inhabit; they posture, and at other times throw histrionic fits.

Opposite – Sofi Brazzeal, Untitled (six figures with potted plant), 2017

Exhibition runs through to August 11th, 2017

Martos Gallery
41 Elizabeth St
New York
NY 10013

www.martosgallery.com

  

RAY JOHNSON

Posted on 2017-07-24

Johnson is one of the more eccentric figures in contemporary art. Born in Detroit in 1929, he attended the legendary Black Mountain College, where he met and befriended many of the leading avant-garde figures of the day. He moved to New York in 1949 and began exhibiting abstract paintings. Within a few years, however, he had rejected painting in favor of collage. That medium’s combinatory principles became central to his art, which grew to encompass performance, conceptual art, and sculpture. By the late 1950s his practice of mailing collages to friends and acquaintances had become a primary artistic focus, directly giving rise to the Mail Art movement.

Johnson’s collage works, which often incorporate celebrity images cut from magazines, are considered among the earliest examples of Pop art. He exhibited them at galleries and museums in the 1960s and 1970s, but starting in the late 1970s, with only a few exceptions, he stopped showing his work publicly. He never stopped working, however, and by 1995, when he committed suicide by jumping off a bridge, he had created an extraordinarily rich and varied body of work.

Opposite – Untitled (Dali/Dear David Smith/Barbra Streisand), 1974-94

Exhibition runs through to August 18th, 2017

Matthew Marks
523 West 24 Street
New York 10011

www.matthewmarks.com

  

ANNE WILSON – A HAND WELL TRAINED

Posted on 2017-07-24

Softly layered, richly textured, and precisely stitched, the artist’s textile works transform ordinary materials and inspire intimate observation. Anne Wilson’s practice investigates the textile industry’s social underpinnings and the politics of re-use by laying bare fabrics’ previous lives. The new works in “a hand well trained” continue her conceptual deconstruction of textile and material studies, investigation of social and labor concerns, and intersections between text and textile.

In her framed horizontal “material drawings” Anne Wilson scrupulously stitches along the layered edges of found linen and cotton; or in works titled “Draw Out,” she extends a coarse, colored fiber line until it nearly disappears into the cloth like a musical decrescendo. Meanwhile “Body Into Culture,” a large wall installation of tall, slit fabrics with hair and colored stitching, provides a more visceral relationship to the viewer’s body. In two sculptural works, Anne Wilson has laid out strips of cloth with reverse stitching resembling asemic writing; upon close observation, one can detect the individual hands of the artist and her studio assistants within the stitched edges. The manifold works in Anne Wilson’s “a hand well trained” overlay text, textile, and texture to entice viewers with close observation of the visual and social possibilities in the material world around us.

Opposite – Inventory Drawing G., 2017

Exhibition runs through to August 11th, 2017

Rhona Hoffman Gallery
118 North Peoria Street
Illinois
60607 Chicago

www.rhoffmangallery.com