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SUMMARY:Opening reception: Dan Colen | Help
DESCRIPTION:“I’m interested in the fragility of the moment. When painting\, each brushstroke is an opportunity to consider and preserve that moment. Each mark is a decision\, from the moment the brush collides with the canvas\, and each one can go in so many different directions.”\n—Dan Colen \nGagosian is pleased to present HELP\, an exhibition of new paintings by Dan Colen. \nMoving between diverse styles and subjects\, Colen investigates the conceptual stakes of materiality and mark making. In his earliest paintings\, elements of the supernatural intrude into naturalistic renderings of interior spaces\, while his more recent canvases explore the technical\, physical\, and thematic limits of the medium itself. Colen has often worked with unconventional materials such as chewing gum\, soil\, and trash\, relinquishing control of his work’s final appearance to their unpredictable surfaces. Nevertheless\, representational imagery has remained a through line across his oeuvre\, allowing him to conduct an ever-evolving inquiry into the objecthood and authority of painting as a medium. \nIn the seven new canvases on display in HELP\, Colen uses the motif of the message in a bottle—bobbing on an open sea or washed up on a distant shore—to stage the practice of painting as an act of faith\, and as a tool for communication with the unknown. The note enclosed in the sealed glass container has traditionally functioned as a distress signal or last-ditch message from a desperate or doomed sailor. These works represent the final entries in Colen’s cycle of “Disney paintings\,” which derive their imagery from animated films made by the famous studio. \nBeginning in 2003 with his Candle paintings\, Colen has used Disney’s imagery and aesthetic to suggest the presence of the fantastical and the miraculous. Based on imagery from  Pinocchio (1940)\, these works depict the woodcarver Geppetto’s table. But in a humorous subversion of Disney’s wholesome ethic\, the smoke drifting up from a just-extinguished candle spells out a succession of obscenities. The later Miracle series (2010–18) uses imagery from Fantasia (1940)\, while the Mother paintings (2008–19)\, draw on Lady and the Tramp (1955). \nIn HELP\, Colen looks to the fantasy drama The Rescuers (1977). Here he renders ocean and horizon in bright primary colors\, retaining the hard graphic outlines characteristic of the cartoon form while still infusing the paintings’ ripples and waves with a sense of movement. In places\, his expressive brushstrokes evoke the softness and freedom of watercolor as much as the relative fixity of oils. Among Colen’s most atmospheric works to date\, these haunting compositions evoke oceanic loneliness\, purposefully drawing upon familiar imagery to suggest a confrontation or conversation with the sublime. \n\nImage:\nDAN COLEN\nHELP\, 2019–20\nOil on canvas\n28 x 46 1/2 in\n71.1 x 118.1 cm\n© Dan Colen. Photo: Rob McKeever. Courtesy Gagosian.
URL:https://artinamericaguide.com/event/opening-reception-dan-colen-help/
LOCATION:Gagosian Park & 75\, New York\, 821 Park Avenue\, New York\, 10021\, United States
CATEGORIES:Event
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DTEND;TZID=America/Halifax:20200404T180000
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SUMMARY:Dan Colen | Help
DESCRIPTION:“I’m interested in the fragility of the moment. When painting\, each brushstroke is an opportunity to consider and preserve that moment. Each mark is a decision\, from the moment the brush collides with the canvas\, and each one can go in so many different directions.”\n—Dan Colen \nGagosian is pleased to present HELP\, an exhibition of new paintings by Dan Colen. \nMoving between diverse styles and subjects\, Colen investigates the conceptual stakes of materiality and mark making. In his earliest paintings\, elements of the supernatural intrude into naturalistic renderings of interior spaces\, while his more recent canvases explore the technical\, physical\, and thematic limits of the medium itself. Colen has often worked with unconventional materials such as chewing gum\, soil\, and trash\, relinquishing control of his work’s final appearance to their unpredictable surfaces. Nevertheless\, representational imagery has remained a through line across his oeuvre\, allowing him to conduct an ever-evolving inquiry into the objecthood and authority of painting as a medium. \nIn the seven new canvases on display in HELP\, Colen uses the motif of the message in a bottle—bobbing on an open sea or washed up on a distant shore—to stage the practice of painting as an act of faith\, and as a tool for communication with the unknown. The note enclosed in the sealed glass container has traditionally functioned as a distress signal or last-ditch message from a desperate or doomed sailor. These works represent the final entries in Colen’s cycle of “Disney paintings\,” which derive their imagery from animated films made by the famous studio. \nBeginning in 2003 with his Candle paintings\, Colen has used Disney’s imagery and aesthetic to suggest the presence of the fantastical and the miraculous. Based on imagery from  Pinocchio (1940)\, these works depict the woodcarver Geppetto’s table. But in a humorous subversion of Disney’s wholesome ethic\, the smoke drifting up from a just-extinguished candle spells out a succession of obscenities. The later Miracle series (2010–18) uses imagery from Fantasia (1940)\, while the Mother paintings (2008–19)\, draw on Lady and the Tramp (1955). \nIn HELP\, Colen looks to the fantasy drama The Rescuers (1977). Here he renders ocean and horizon in bright primary colors\, retaining the hard graphic outlines characteristic of the cartoon form while still infusing the paintings’ ripples and waves with a sense of movement. In places\, his expressive brushstrokes evoke the softness and freedom of watercolor as much as the relative fixity of oils. Among Colen’s most atmospheric works to date\, these haunting compositions evoke oceanic loneliness\, purposefully drawing upon familiar imagery to suggest a confrontation or conversation with the sublime. \n\nImage:\nDAN COLEN\nHELP\, 2019–20\nOil on canvas\n28 x 46 1/2 in\n71.1 x 118.1 cm\n© Dan Colen. Photo: Rob McKeever. Courtesy Gagosian.
URL:https://artinamericaguide.com/event/dan-colen-help/
LOCATION:Gagosian Park & 75\, New York\, 821 Park Avenue\, New York\, 10021\, United States
CATEGORIES:Exhibition
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DTSTART;TZID=America/Halifax:20200110T180000
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CREATED:20191209T170011Z
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SUMMARY:John Mason | Geometric Force
DESCRIPTION:JOHN MASON\nFigure\, Dark Blue\, 2015\nCeramic\n62 1/2 x 20 x 24 in\n158.8 x 50.8 x 61 cm\n© 2015 Estate of John Mason. All Rights Reserved. Photo: Jeff McLane. Courtesy Gagosian. \n\nJohn Mason: Geometric Force \nJanuary 10 – February 15\, 2020\nOpening Reception: January 10\, 6-8pm
URL:https://artinamericaguide.com/event/john-mason-geometric-force/
LOCATION:Gagosian Park & 75\, New York\, 821 Park Avenue\, New York\, 10021\, United States
CATEGORIES:Event
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DTSTART;VALUE=DATE:20191105
DTEND;VALUE=DATE:20191222
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SUMMARY:BIRTH MACHINE BABY
DESCRIPTION:BIRTH MACHINE BABY\nH. R. Giger and Mark Prent | Curated by Harmony Korine \nNovember 5–December 21\, 2019 \n“H. R. Giger and Mark Prent are both masters of navigating beauty\, horror\, science fiction\, and fantasy. I’ve admired their works for a while; they both defy genre in a way that is difficult to articulate. They create and inhabit their own worlds\, populating them with classic nods to both film and sculptural tradition. Giger and Prent’s works are dense and powerful\, filled with shocking characters and strange magic. The time seems right to see these two great artists together in one room.” 
—Harmony Korine \nGagosian is pleased to present Birth Machine Baby\, an exhibition curated by Harmony Korine\, featuring works by H. R. Giger and Mark Prent. \nIn this exhibition\, Korine pairs eerie humanoid figures by Giger—whose name has been cemented in Hollywood history for his visual effects and design work on the Alien film franchise—with sculptures by Prent\, a Canadian artist whose grotesque and provocative depictions of the human body were greatly admired by Giger himself. Despite the divergences in Giger’s and Prent’s chosen styles and mediums\, both artists’ interests lie in coaxing out latent fantastical forms from the contours of the human body. \nDepicting subject matter gleaned from the depths of his psychic anxieties\, Giger’s stylized sculptures merge writhing\, skeletal organisms with elegant metallic features\, coalescing in his signature “biomechanical” style. Although Giger was best known for designing the iconic extraterrestrial Xenomorph from Alien (1979)\, his other works display the full range of his artistic influences\, which span from ancient Egyptian statuary to twentieth-century artists such as Salvador Dalí and Francis Bacon. \nDisplaying a mastery of hyperrealistic sculptural techniques\, Prent’s uncanny fiberglass and resin sculptures simultaneously shock and enthrall. His art—which has remained fundamentally grounded in the human form since the 1970s—melds familiar anatomies with bizarre\, animalistic limbs and features\, provoking a visceral process of recognition and emotional connection in the beholder. Prent’s work challenges our understanding of the body as we know it\, creating haunting\, chimerical hybrids that elicit innovative visual dialogues when juxtaposed with Giger’s biomechanical creations. \nKorine’s cult films of the past twenty years—from the surreal Gummo (1997) to the contemporary “beach noir” Spring Breakers (2012)—merge reality with fiction and handheld camerawork with precise montage. This same heady mix of the unplanned\, the seductive\, and the outlandish crystallizes in his highly tactile paintings\, whose strange\, otherworldly motifs revel in the realm of magical realism. Korine’s own art often engages with the film industry; for his BLOCKBUSTER (2018) series\, he salvaged a number of VHS tapes from a shuttered Blockbuster video store\, augmenting their covers with paint and assembling them into patchwork grids of pop cultural references.
URL:https://artinamericaguide.com/event/birth-machine-baby/
LOCATION:Gagosian Park & 75\, New York\, 821 Park Avenue\, New York\, 10021\, United States
CATEGORIES:Exhibition
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DTSTART;TZID=America/Halifax:20190905T180000
DTEND;TZID=America/Halifax:20190905T200000
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SUMMARY:Domestic Horror
DESCRIPTION:DOMESTIC HORROR \nSeptember 5–October 19\, 2019\nOpening reception: Thursday\, September 5\, 6–8pm \n\nImage credit: \nLOUISE BONNET\nInterior with pink blanket\, 2019\nOil on linen\n72 x 96 in\n182.9 x 243.8 cm\n© Louise Bonnet. Photo courtesy of the artist and Gagosian.
URL:https://artinamericaguide.com/event/domestic-horror/
LOCATION:Gagosian Park & 75\, New York\, 821 Park Avenue\, New York\, 10021\, United States
CATEGORIES:Event
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