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DTSTART;VALUE=DATE:20210406
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SUMMARY:Helen Marden:  Bitter Light a Year
DESCRIPTION:HELEN MARDEN\nBitter Light a Year\nApril 6–May 8\, 2021 \nGagosian is pleased to present Bitter Light a Year\, an exhibition of new paintings by Helen Marden. \nMarden’s compositions combine vivid color with gesture in a joyful affirmation of life’s energies. Using resin to bind neon bright acrylics and raw powdered pigments with natural substances and found objects\, she invests the aesthetics and techniques of expressive abstraction with renewed variety and purpose. \nIn Noon Tide (2020)\, Marden adds shells and fragments of glass to a biomorphic form rendered in acid pink\, generating a dynamic fusion of the organic and the artificial. The appended elements follow looping skeins of paint traced on the surface of the canvas\, suggesting a fluid\, symbiotic relationship between the two distinct sets of materials. In Forward (2020)\, the same pink is joined by translucent fields of red\, yellow\, and blue\, their overlapping shapes hinting at biological entities while stopping just short of figurative representation. Clustered shells appear at once bound to the composition and independent of it; in Evening Tide (2020)\, two large scallop shell halves resemble wide-open eyes set in a howling visage of pink\, blue\, turquoise\, and deep red. \nThe exhibition’s poetic title\, Bitter Light a Year\, suggests hard-won wisdom and anticipates collective emergence from a profoundly challenging time for the planet. In works of endearing and unrestrained vitality\, Marden offers an optimistic vision of a world in which environmental forces and human culture might be reconciled and reunited. \n\nImage:  \nHELEN MARDEN\nBitter Light a Year\, 2021\, installation view\n© Helen Marden\nPhoto: Rob McKeever\nCourtesy Gagosian
URL:https://artinamericaguide.com/event/helen-marden-bitter-light-a-year/
LOCATION:Gagosian 976 Madison Avenue\, New York\, 976 Madison Avenue\, New York\, 10075\, United States
CATEGORIES:Exhibition
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SUMMARY:Opening reception: Roe Ethridge | Old Fruit
DESCRIPTION:“It’s more about harmony and disharmony than making meaning or illustrating a thesis. It’s synesthesia. It’s a feeling. It’s a sound. It’s a vibration.”\n—Roe Ethridge \nGagosian is pleased to present Old Fruit\, an exhibition of photographs by Roe Ethridge spanning the past twenty years. This is his first solo exhibition with the gallery in New York\, following exhibitions in Beverly Hills\, Hong Kong\, and San Francisco. \nSince the turn of the century\, Ethridge has exercised a significant influence over young artists in particular\, yet opportunities to see groupings of his early work have been rare. Old Fruit\, which focuses primarily on his output from the early 2000s\, offers a valuable chance to revisit many highly regarded and widely reproduced images that embody new ways of understanding the medium of photography in the context of emergent technological and social currents. \nExpanding on the visual and critical syntaxes of photographers from Paul Outerbridge to Andreas Gursky\, Ethridge strategically crisscrosses the zones of artistic\, commercial\, and vernacular imagery\, encouraging the staged and the spontaneous to occupy the same space. Using outtakes from his own commercial and editorial shoots alongside other images\, he subverts the residual authority of the portrait\, landscape\, and still life genres to match his own consciously ambiguous ends. While applying high production values and acknowledging the conventions of picture making\, he introduces subtle conceptual twists and formal glitches that destabilize our ingrained faith in the function and authority of these elements. Courting a certain aesthetic discomfort\, his interest is in producing images that are\, as he puts it\, “‘right’ in their wrongness.” \nThe approach taken in Old Fruit is unusual for Ethridge insofar as the works are arranged typologically as well as formally. The exhibition’s earliest photograph is Refrigerator (1999)\, a key image in Ethridge’s oeuvre that echoes an earlier still life by William Eggleston. Shot at his parents’ home as a commission for an unpublished New York Times editorial assignment about vernacular decor\, the work\, along with others in the exhibition\, encapsulates multiple genres\, here in part by incorporating additional images in the form of postcards\, snapshots\, and decals affixed to the front of the appliance. Refrigerator is emblematic\, too\, of Ethridge’s ability to communicate a direct experience of the world while simultaneously maintaining a critical distance from it\, blending the personal with the impersonal in a way that anticipates their continual overlap and confusion in the realm of social media. \nThe photographs in the exhibition are also grouped to contrast the analytical detachment of the Pigeon images (2001–02) with the more emotive—yet still highly staged—look and feel of images such as the notorious 2000 portrait of a bloodied Andrew W.K. (reproduced on the cover of the singer’s 2001 album I Get Wet) and Ambulance Accident (2000). As well as offering a historical perspective\, Old Fruit opens up new avenues of inquiry and dialogue within Ethridge’s media-savvy and now pervasive aesthetic\, underscoring the value of his particular strains of appropriation\, stylization\, and nonlinear juxtaposition. \n\nImage:\nROE ETHRIDGE\nPigeon\, 2001\nC-print\n38 x 30 in\n96.5 x 76.2 cm\n© Roe Ethridge. Courtesy Gagosian.
URL:https://artinamericaguide.com/event/opening-reception-roe-ethridge-old-fruit/
LOCATION:Gagosian 976 Madison Avenue\, New York\, 976 Madison Avenue\, New York\, 10075\, United States
CATEGORIES:Event
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SUMMARY:Roe Ethridge | Old Fruit
DESCRIPTION:“It’s more about harmony and disharmony than making meaning or illustrating a thesis. It’s synesthesia. It’s a feeling. It’s a sound. It’s a vibration.”
\n—Roe Ethridge \nGagosian is pleased to present Old Fruit\, an exhibition of photographs by Roe Ethridge spanning the past twenty years. This is his first solo exhibition with the gallery in New York\, following exhibitions in Beverly Hills\, Hong Kong\, and San Francisco. \nSince the turn of the century\, Ethridge has exercised a significant influence over young artists in particular\, yet opportunities to see groupings of his early work have been rare. Old Fruit\, which focuses primarily on his output from the early 2000s\, offers a valuable chance to revisit many highly regarded and widely reproduced images that embody new ways of understanding the medium of photography in the context of emergent technological and social currents. \nExpanding on the visual and critical syntaxes of photographers from Paul Outerbridge to Andreas Gursky\, Ethridge strategically crisscrosses the zones of artistic\, commercial\, and vernacular imagery\, encouraging the staged and the spontaneous to occupy the same space. Using outtakes from his own commercial and editorial shoots alongside other images\, he subverts the residual authority of the portrait\, landscape\, and still life genres to match his own consciously ambiguous ends. While applying high production values and acknowledging the conventions of picture making\, he introduces subtle conceptual twists and formal glitches that destabilize our ingrained faith in the function and authority of these elements. Courting a certain aesthetic discomfort\, his interest is in producing images that are\, as he puts it\, “‘right’ in their wrongness.” \nThe approach taken in Old Fruit is unusual for Ethridge insofar as the works are arranged typologically as well as formally. The exhibition’s earliest photograph is Refrigerator (1999)\, a key image in Ethridge’s oeuvre that echoes an earlier still life by William Eggleston. Shot at his parents’ home as a commission for an unpublished New York Times editorial assignment about vernacular decor\, the work\, along with others in the exhibition\, encapsulates multiple genres\, here in part by incorporating additional images in the form of postcards\, snapshots\, and decals affixed to the front of the appliance. Refrigerator is emblematic\, too\, of Ethridge’s ability to communicate a direct experience of the world while simultaneously maintaining a critical distance from it\, blending the personal with the impersonal in a way that anticipates their continual overlap and confusion in the realm of social media. \nThe photographs in the exhibition are also grouped to contrast the analytical detachment of the Pigeon images (2001–02) with the more emotive—yet still highly staged—look and feel of images such as the notorious 2000 portrait of a bloodied Andrew W.K. (reproduced on the cover of the singer’s 2001 album I Get Wet) and Ambulance Accident (2000). As well as offering a historical perspective\, Old Fruit opens up new avenues of inquiry and dialogue within Ethridge’s media-savvy and now pervasive aesthetic\, underscoring the value of his particular strains of appropriation\, stylization\, and nonlinear juxtaposition. \n\nImage:\nROE ETHRIDGE\nRefrigerator\, 1999\nC-print\n30 x 24 in\n76.2 x 61 cm\n© Roe Ethridge. Courtesy Gagosian.
URL:https://artinamericaguide.com/event/roe-ethridge-old-fruit/
LOCATION:Gagosian 976 Madison Avenue\, New York\, 976 Madison Avenue\, New York\, 10075\, United States
CATEGORIES:Exhibition
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SUMMARY:Gerhard Richter | Prints
DESCRIPTION:GERHARD RICHTER\nPrints\nNovember 8–December 21\, 2019 \n“I can make no statement about reality clearer than my own relationship to reality.”\n—Gerhard Richter \nGagosian is pleased to present editioned works by Gerhard Richter spanning fifty years. \nThroughout his distinguished career\, Richter has remained at the forefront of contemporary abstraction and image-making\, embracing haptic process and technological advancements in equal measure and harnessing found imagery in groundbreaking ways. Editions are a central feature of his practice. He modifies details and sometimes entire compositions from his oeuvre\, producing artworks that are simultaneously self-referential and new. Divergent in medium\, scale\, and style\, the editions mirror Richter’s mercurial artistic processes and explore the dynamic relationship between source image and pictorial representation. \nMany of Richter’s prints are based on personal photographs. He produced his earliest edition Hund (Dog) (1965) by sweeping a paintbrush across a still-damp screenprint depicting the family dog; blurred with a visible texture from the brush hairs\, the resulting image is a print that references both painting and photography. Richter also rephotographed newspaper illustrations\, altering them to simulate the appearance of industrial print media. In Flugzeug I (Airplane I) (1966)\, he purposely misaligned the screenprint’s two layers of gray ink\, mimicking the errors common to off-register printing. Other early works\, such as the offset print Elizabeth II (1966)\, were intentionally printed with shifted plates to create a moiré pattern. \nBetty (1991) poses questions of identity and veracity in portraiture and printmaking. It is titled after Richter’s daughter\, who is depicted here in a floral robe\, her head turned away from the viewer. The image is layered in mimesis: it is offset-printed from a photograph of Richter’s iconic 1988 painting of the same name\, which was itself painted from a photograph of the subject taken by the artist. Richter’s portrait speaks with the intimate visual language of a family photograph\, yet its repeated technical mediations refute any affective connection with the anonymous subject. \nIn 1993\, as a special project for the international journal Parkett\, Richter produced Grün-Blau-Rot (Green-Blue-Red)\, a sequential series of unique small paintings following a basic chromatic principle. He applied the same three vivid oil-based pigments onto 115 uniformly sized canvases with a squeegee\, employing the regimented process of his Abstraktes Bilder series\, which allows for the relatively uncontrolled interaction of color. Made by the artist’s own hand without the restraining grid of the printing process\, each work exists as a unique variation on the same theme. \nRichter’s oeuvre continues to function as a creative springboard in his 2011 series of Strips. To create these large-scale inkjet prints\, he digitally divided his oil-on-canvas Abstract Painting (724-4) (1990) into 4\,096 vertical segments. Segments were then randomly selected and repeated until they lengthened out into thin horizontal strips of uniform color\, allowing a single painting to spawn multiple new images. Clean and crisp\, appearing as sort of horizontal barcodes\, the Strips subvert their painterly origins with an air of modern detachment. Richter’s impulse to modify and reinterpret his own works resurfaces in Cage Grid (2011)\, a series of inkjet prints created by dividing a photograph of his 2006 oil painting Cage 6 into a four-by-four grid of squares. \n\nImage caption: \nGERHARD RICHTER\nMustangs\, 2005\nDiasec-mounted laserchrome print and Antelio glass\n34 5/8 x 59 1/8 in\n88 x 150 cm\nEdition of 48\n© Gerhard Richter 2019 (07102019)\nCourtesy Gagosian
URL:https://artinamericaguide.com/event/gerhard-richter-prints/
LOCATION:Gagosian 976 Madison Avenue\, New York\, 976 Madison Avenue\, New York\, 10075\, United States
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