Opening July 14th at 6pm
EXHIBITION WILL RUN THRU SEPT 3
THE GALLERY WILL BE OPEN BY APPOINTMENT IN AUGUST
I conn'd old times, I sat studying at the feet of the great masters, Now if eligible O that the great masters might return and study me. *
The paintings presented here are an extension of the six paintings first shown at Hannah Barry Gallery last year in the show "New Work, New York". These works were not planned as a group or cycle but never the less find their conclusion with this current installation.
Two Crosses mark the space of the gallery. Cutting a found picture frame in four sections, the works are some of the most direct I've made. The Crosses are iconic, anonymous, and also "like a painting collapsing in on itself".
The goal is for artwork to possess its realization eo ipso.
Beauty and truth are anonymous: their (mis)translation in this world embodied through, and within, material is the subject of this show.
- Walt Whitman, "Starting from Paumanok"
Opens June 21st in London.
I do not want to prove a point with this exhibition. The selection of works was made primarily by the artists who produced them. I selected the artists based upon their projected affinity with my own attitude towards production. Many of these relationships have personal qualities which may not be visible to anyone but myself.
My experience has revealed a paradoxical relationship between the accessibility of ideas to an audience and the private nature of their relationships. These works may tangentially explicate each other, as well as point towards general themes about art-making today. More important to me, however, is a point I didn't explicitly discuss with any of the artists prior to this exhibition: that of an essential necessity towards the production of art within a framework of self-awareness.
One could say that these compositions aim at the same goals as Barnett Newman's paintings, albeit mindful of the failures of Newman's works. The idea of myth: has painting itself has become the myth? The sublime: does one have to feel terror at the unknowable to access the beautiful, or can one also laugh? Is the success of the search for what to paint contingent upon previous artistic tradition? Does one have to 'start over'?
The title comes from Thomas Aquinas, who in the face of actual religious experience declared of his lifetime of theological theorising, 'All I have written is straw'. The works in this exhibition address the above questions better than I can in words.
ADDICTED TO HIGHS AND LOWS, CURATED BY RICHARD ALDRICH OPENING APRIL 7TH, 2011 6-8PM Bortolami Gallery
Kaoru Arima, Daan van Golden, Heather Guertin, Charline von Heyl, Matt Hoyt, Amy Lien, Erik Lindman, Jason Loebs, Pete Mandradjieff, Carissa Rodriguez, Julia Rommel, Terry Winters, Anicka Yi
Opening: March 11, 2011, 6-9pm
Golden Age is pleased to present One Year Edit, a selection of recent work from Erik Lindman. At the forefront of a new generation of painters, Lindman’s works are explorations of material gesture. For his exhibition at Golden Age the artist will be showing an installation of four sophisticated abstract paintings.
Each is constructed of cast-offs from other paintings coalescing into unique works through planned interventions and incidental over-sprays, drips and mistakes. As the paintings are both industrial and traditional in substance, consisting of luan, maple, sheetrock paper, oil, latex and rabbit-skin glue, the diverse nature of the artist’s supports and enamels become apparent immediately. His precise considerations allow for stunning surfaces to intertwine with delicate, formal compositions.