September 15 – November 1 2015
Opening Tuesday September 15 6 – 9 pm
Gallery Hours Tuesday – Sunday 12 – 6 pm
The Journal Gallery is pleased to present “Stadiums,” the artist's second solo exhibition with the gallery.
“Stadiums” is comprised of an installation of several related bodies of new work which incorporate notions of abstract painting, found-object assemblage and the decorative arts, all viewed through the lens of an architectural support structure.
Large-scale paintings dominate the main exhibition space. Painted directly on salvaged above-ground swimming pools, these works evoke a history of avant-garde expression while retaining a vestige of their former lives as anti-monuments in backyards across America.
Installed in discreet locations throughout the further reaches of the gallery is a series of smaller framed works. These mock display cases are accretions of myriad materials and attitudes towards craft, representation, decoration and symbol. Reproductions of mundane found objects are presented as expressive marks on a dynamic sculptural ground formed from flocked workshop detritus. These painterly compositions are encased in carefully handcrafted frames with a range of decorative finishes—gold and aluminum leaf, low-voc paints, beeswax.
Graham Collins was born in Washington, D.C. in 1980. He currently lives and works in Brooklyn, New York. He received his BFA 2003 from Corcoran College of Art in Washington and his MFA 2010 from Bard College in Annandale-on-Hudson, NY. Graham Collins recent solo exhibitions include “The Village“ at Bugada & Cargnel in Paris, France (2015), “Early Words” at Halsey McKay, East Hampton, New York (2015), “Concert in Central Park” at Jonathan Viner Gallery, London, UK (2014), “Clean Room” at Luce Gallery in Torino, Italy (2014) and “Civic” at The Journal Gallery, Brooklyn, New York (2013). His work has been shown in numerous group exhibitions, including “Altered States” at Jérôme Pauchant in Paris, France (2015), “Ghost Current” at V1 Gallery in Copenhagen, Denmark (2014), “Uber-Bodies” at Hydra School Projects in Hydra, Greece (2014), and “Difference and Repetition” at Luce Gallery in Torino, Italy (2014), among others.
Continuing the Whitechapel Gallery’s programme opening up rarely seen art collections for everyone, a series of four chronological displays launching this September highlights works from the Barjeel Art Foundation’s rich collection. Artists from Algeria, Egypt, Iraq, Lebanon, Palestine and elsewhere in the region tell the story of Arab art from the modern to the contemporary period.
This first display of works explores the emergence and subsequent development of an Arab art aesthetic through drawings and paintings from the early twentieth century to 1967, an important historical period in the region.
Display highlights include a portrait painting of a young woman in profile by Armenian-Egyptian artist Ervand Demirdjian titled Nubian Girl, which is believed to be one of the earliest works in the collection made between 1900 – 10.
An early career painting by Dia Azzawi, recognised as one of Iraq’s most influential living artists, is also on show alongside Kadhim Hayder’s painting of symbolic white horses titled Fatigued Ten Horses Converse with Nothing (The Martyrs Epic) (1965).
The display ends with Hamed Ewais’s Le Guardien de la vie (1967-8), a large-scale oil painting that depicts a fighter, weapon in hand, while underneath him everyday events such as a wedding taking place and a child riding a bike are shown, suggesting the possibility of societal renewal following the collapse of the Pan-Arab ideal after the Six-Day War in 1967.