In his sixth solo exhibition at the gallery Meuser presents a group of new wall-based works and freestanding sculptures under the exhibition title “Kann ich mich hier auch selbst einweisen?“ (Can I Admit Myself To This Place?), a title that seems a logical follow-up to his 2014 show ”Herr Ober, zwei Doppelte“ (Waiter, Two Double Shots).
For more than 40 years Meuser has been finding his material, discarded industrial objects made from steel or iron, primarily at the scrapyard. The search for a suitable industrial relic is an essential part of his artistic process; as Meuser puts it: ”Scrap, there is tons of course but it contains a lot of rubbish." Ignoring the original function of the often bulky found objects, Meuser reworks them in the studio, welds them together, or sometimes simply paints them. With minimal interventions the artist thus constructs three-dimensional works that oscillate between sculpture and painting. The arrangement of the objects in the manner of an installation—in particular his wall-based works—facilitates an experience that is rather pictorial. Obvious signs of wear, like marks and scratches, in the material evoke painterly gestures. This effect is enhanced by coating the found objects with ordinary industrial paints and oil. At the same time, the monochrome color infuses the metal fragments with an amorphous vitality and physical presence, evoking an illusion of lightness, which counterbalances the actual physical weight of the material.
The unpretentious and modest vocabulary of Meuser’s more geometric body of work has a constructivist formal clarity that is reminiscent to strategies of Minimal art, especially considering his specific use of materials. With his so-called “Knautsch” works (roughly translated from the German, it means “crumpled“), Meuser expanded this idiom and since 2011 he has developed works that are literally crumpled: i.e., squeezed, crushed, and bent. As a student of Beuys at the Kunstakademie Düsseldorf, Meuser developed his abstract constructivist vocabulary particularity in the context of the work of older colleagues such as Blinky Palermo and Imi Knoebel, who—like Martin Kippenberger—had significant influence on his work. With Kippenberger he shared an ironic and down-to-earth approach to artmaking and he sometimes visited his friend to create titles for the works (“Titel kloppen”), just as one would slam cards on the table in a game of skat.
Ultimately, with his specific handling and installation of the works, but especially with his idiosyncratic titles, Meuser ironically transfers his materials into an everyday world oscillating between banality and poetry. Meuser’s hilarious and disrespectful titles are inspired by the distinctively blunt and irreverent everyday rhetoric of the Ruhr valley, as well as popular songs (“Schlager”), proverbs, or jokes. These titles are found fragments just like the scrap metal, extracted from their original realm of meaning. They render the work as a self-referential whole composed of image and text and allow for new iconographic interpretations and various—sometimes anarchic—associations.
Honor Fraser Gallery is pleased to announce our fifth exhibition with Kenny Scharf. An opening reception will be held at the gallery from 6 - 8pm on Saturday, March 11, 2017.
In his paintings, sculptures, videos, public artworks, and installations, Kenny Scharf unites political ideas with a pop aesthetic, critiquing mainstream media and rampant commercialism through his art. For his new exhibition, Scharf has produced three distinct but related bodies of work. Monumental in scale, the BLOCKHEADZ paintings feature square and rectangular cartoon faces in loose grid patterns. Occasional breaks between the faces reveal galactic skyscapes. Using abandoned cathode ray tube television monitors found on sidewalks around the city, Scharf re-envisions the matte black and silver plastic TVs as brightly painted cartoon heads for his series TV BAX. Finally, Scharf's Assemblage Tableaux Vivants series comprises several elaborate wall-mounted assemblages pieced together from found picture frames, toys, games, and other detritus. Scharf uses paint, glitter, and beads, layering colors and objects to create fantastical, intimate dioramas. These three series all engage rectilinear forms as framing and structuring devices but resist the traditional rigidity of the grid, inviting playful imagery and bold color into its structure.
In 2015, Scharf was the subject of a one-person exhibition at the Hammer Museum in Los Angeles. As part of the museum's Hammer Projects series, Scharf created a site-specific mural with brightly colored characters, spontaneous gestures, and abstract shapes that led viewers through the lobby and into the museum's courtyard. From January 27 through May 14, 2017, Scharf's painting When the Worlds Collide (1984) will be featured in Fast Forward: Painting from the 1980s, an exhibition of selections from the permanent collection at the Whitney Museum of American Art. Opening at the Museum of Modern Art in New York on October 31, 2017, Club 57: Film, Performance, and Art in the East Village, 1978––1983 is the first exhibition to document Club 57, the seminal club for performance art, music, and film in New York's East Village. As a key figure in the Club 57 scene, Scharf presented performance pieces and paintings at the club and collaborated with the other co-founders and co-curators on programs and exhibitions. The exhibition and accompanying catalogue will feature extensive ephemera from Scharf's archive, a selection of his paintings from the period and a COSMIC CAVERN. Central to the exhibition will be a suite of twenty-three videos Scharf made during the late 1970s and early 1980s, which were recently acquired for the permanent collection at the Museum of Modern Art.
Kenny Scharf was born in 1958 in Los Angeles and lives in Los Angeles. He received a Bachelor of Fine Arts from the School of Visual Arts, New York in 1980. Honor Fraser Gallery has presented four exhibitions of Scharf's work to date: Born Again (2015); Pop Renaissance (2013); Hodgepodge (2012); and Barberadise (2009). One-person exhibitions of Scharf's work have been presented at the Nassau County Museum of Art, Roslyn, NY (2016); Hammer Museum, Los Angeles, CA (2015); Portland Art Museum, Portland, OR (2015); Pasadena Museum of California Art, Pasadena, CA (2004); Los Angeles Contemporary Exhibitions, Los Angeles (2001); Portland Institute for Contemporary Art, OR (1999); Salvador Dalí Museum, Saint Petersburg, FL (1997); University Galleries, Illinois State University, Normal, IL (1997); Museo de Arte Contemporáneo de Monterrey, Mexico (1996); and Museum of Fort Lauderdale, Fort Lauderdale, FL (1995).
Scharf's public artworks are on view at Robert F. Kennedy Community Schools, Los Angeles, CA; Art Center College of Design, Pasadena, CA; Davis Bros Tire Pros, Culver City, CA; West Adams Boulevard and La Brea Avenue, Los Angeles, CA; Pasadena Museum of California Art, Pasadena, CA; and other locations around the world.
Scharf is included in public collections such as the Guggenheim Museum, New York, NY; Hammer Museum, Los Angeles, CA; Museum of Modern Art, New York, NY; Museum of Contemporary Art, Los Angeles, CA; San Francisco Museum of Modern Art, San Francisco, CA; Stedelijk Museum, Amsterdam, the Netherlands; and the Whitney Museum of American Art, New York, NY.
Brand New Gallery is pleased to present In Saecula Saeculorum, Bosco Sodi’s first solo exhibition at the gallery.
The title of the show is a Latin locution that expresses the idea of eternity and is literally translated as “unto the ages of ages” (forever and ever).
The exhibition features a new series of paintings on linen, accompanied by a few small volcanic rocks covered in red ceramic glaze. In Saecula Saeculorum questions and stands out the permanency of objects throughout the time.
Bosco Sodi shows his signature fissured, velvetised and encrusted paintings on linen, a new series of works that he started painting since late 2016. Compared to the prior works, which are heavily encrusted, these show a random and unorganized spatiality in between the matter. The spaces between these pigmented chunks show the absence of the materiality that the work expresses. Absence, can be read not as a lack of something but as a new element that counter balances the rest of the artwork components.
The artist uses a mixture of pure pigment, sawdust, wood pulp, natural fibers, water and glue to create a textured surface that dries into a monochromatic primordial landscape. By doing this process over a clean canvas he explores the volume of color, from deep red to purple and orange, all the way to a simple but strong black. The final result shows a terrestrial surface of which is built up by hand over the course of one or two days.
This is a demanding physical process that Sodi dubs as a continuous action, like a performance. Each piece’s process is influenced by factors beyond his control including climate, altitude, and water density.
It never worries me to let work go. For me making art is about the process not the outcome. (Bosco Sodi)