Ellsworth Kelly Prints
Robert Motherwell Prints
Richard Serra Prints
David Nakabayashi Paintings
Karina Hean Mixed Media
Karen Yank Sculpture
Michael Freitas Wood Mixed Media
James Havard Sculpture
Susan Davidoff Etchings
Holly Roberts Mixed Media
Yazzie Johnson & Gail Bird Jewelry
What: European Perspectives, The Radiant Line
Who: Paintings, prints, photographs, neon sculpture by Francois Morellet, Gregoire Cheneau, Diana Blok and Pieter Bijwaard, Olivier Mosset, Ruth Gschwendtner‐Wölfe, Miguel Mont, Tony Soulie
When: Friday, April 26, 2013 until Tuesday, May 24, 2013; Opening reception on Friday, April 26, 2013 from 5:00‐7:00 pm
Zane Bennett Contemporary Art is pleased to announce an exhibition of European artists who focus on light, line and color. European Perspectives, The Radiant Line includes geometric compositions as well as neon and color planes that illuminate the landscape or color field. The opening is Friday, April 26th at the gallery, 435 South Guadalupe Street, across from the rail station, from 5:00‐7:00 pm to coincide with the Railyard Arts District Last Friday Art Walk.
François Morellet, France
Although we think of Agnes Martin as the purveyor of the grid in the American art world, François Morellet introduced his first grid‐based paintings in 1950. These works developed into “grillages,” steel grids overlaid on canvas. This geometric parameter has been the basis of his work since then and informs his more recent paintings 10 Hybrid Red and White Lines A, and Pi & Plis (yellow). A vertical and horizontal grid establishes the cube with intersecting lines, defining triangles, squares and various parallelograms highlighted in monochrome. His use of mathematical concepts establishes a reference point for understanding how his work creates an optical experience. In 2009, the Louvre Museum commissioned François Morellet to create new oculi windows for the interior Lefuel Staircase. In this permanent installation, Morellet superimposed the reversed design of the existing grid against the old outline of the oculus so that the old shape is contained within the new. He has extended this notion of the grid to his sculpture in neon, which gives the eye an electric jolt. With Lamentable, it is as if a portion of the grid was peeled directly off the painting 10 Hybrid Red and White Lines A, illuminated and then hung from a point in space, allowing the lines to form a new shape.
Olivier Mosset, Switzerland
Monochromatic painting has been a cornerstone of the avant‐garde since Kazimir Malevich, the Russian Supremacist, presented the first white on white painting in 1918 in Moscow. Just three years earlier, Malevich painted “Black Square on a White Field” which set the framework of geometric abstraction for the 20th Century. When another Russian, Alexandr Rodchenko, known as a Constructivist, exhibited three monochromatic paintings in 1921, each one in a primary color, he announced the death of painting. While this historical statement was dramatic, painting lives on and the monochromatic genre has grown to monumental proportions.
Olivier Mosset, Over Easy,1987, acrylic on canvas, 96 x 48 inches
Olivier Mosset (Whitney Biennial, 2008) explores the monochrome idiom with his Over Easy diptych of an eggshell white square over a yoke yellow square which evokes his title directly. In his Untitled Sans (Without), tiny green squares resonate on a pink ground, eliciting a charged response. There are many interpretations of the monochrome: the painting as an object that represents nothing but itself or the painting as an infinite space filled with emotion that one can enter into. No matter how one interprets the monochrome, it is here to stay.
Gregoire Cheneau, France and Miquel Mont, Spain
Gregoire Cheneau’s argentic photo series of the Paris Metro give us an interior view of the subterranean world; in Metro # 2 the assemblage of people on the platform define the edge of a black and white space with a yellow and orange backdrop. A similar composition is created in Miquel Mont’s woodcut and lithograph II in which a soft black landscape is framed, so to speak, by blocks of color in yellow and orange. In both landscapes, the use of monochromatic rectangles offsets the black and the white foreground. One wonders whether the use of color is an emotional filter informing the viewer of what the landscape reveals.
Ruth Gschwendtner‐Wölfe, Austria
The numinous light that Ruth Gschwendtner‐Wölfe brings to her digital images makes us pause and ask “what am I looking at?” According to the artist, these are “found moments” that exist briefly and then are lost in time. Our minds attempt to organize and interpret the image yet in the blink of an eye we are transported to the unknown. Transforming perception is a theme which Gschwendtner‐Wölfe has pursued in her collaborative book, The Learning Eye, Contributions to visual literacy (Sehen ist Lernbar). The process of learning how to see and educating the eye and brain follows in the tradition of Paul Klee and Wassily Kandinsky, building from their scholarly approaches to understanding how we interpret objects and light. Whether we are seeing an object that is actual or an illusion created by light, we are left to wonder what is “real.”
Diana Blok, Holland and Pieter Bijwaard, Holland
Diana Blok’s collaborative effort with Pieter Bijwaard presents the viewer with two paired images in a single frame. The viewer is prompted to reflect on the meaning of the first photographic image by examining a second, constructed or painted image. This is similar to seeing both sides of the coin at once. Blok explains: “I feel that photography is a great paradox. When I make a portrait it is like saying: I AM/ YOU ARE and on the other side, on a mystical level, I am searching for I AM NOT – so it is as if through one way I find the other.” Between the two artists, there is a sense of shared mystery.
Tony Soulie, France
Known for his photo‐paintings based on large‐scale black and white photographs taken during his travels across the world, Tony Soulie states “I often look for specific famous places, trying to find the primitive spirit (the original core) in their architectural buildings of light.” This primitive spirit may reside in a building, place or geological form. In work from his most recent series that references the American landscape, the artist has taken a photo of a Chicago underpass below the Chicago ‘L,’ the second‐oldest rapid transit system in the Americas. He presents us with imagery that urges us to decipher the signs and ideograms of the place.
Who: Mimmo Paladino
What: Mixografia Prints
When: Friday, May 31, 2013 until Friday, June 21, 2013
Opening reception on Friday, May 31, 2013 from 5:00‐7:00 pm. Last Friday Art Walk in the Railyard Arts District.
Zane Bennett Contemporary Art is pleased to announce an exhibition of Mixografia Prints by Mimmo Paladino. The opening is Friday, May 31st at the gallery, 435 South Guadalupe Street, across from the rail station, from 5:00‐7:00 pm to coincide with the Railyard Arts District Last Friday Art Walk.
Mimmo Paladino has been printing with Mixografia since 2004 when he made the first of his California Suites which are included in this exhibition. A world renowned painter, sculptor and printmaker from Paduli, Italy his sculptural installations have inspired Europeans for decades. Paladino explains, “I have always thought of my work as a representation of architecture rather than a literary construction.” It is natural that Paladino would be drawn to Mixografia and the three dimensionality of their printing process. In California Suite No. 6 a mathematician’s head
filled with numbers is perched on what looks like a stack of books. Whether the books which protrude from the print surface reference architecture or literary works we are left wondering what the numerical sequence tells us.
Paladino uses historical objects and symbols from the collective history of Italy and his own memory to communicate a personal language of ciphers and signs. Heads, spirals and hands metaphorically express the vicissitudes of contemporary man. Ritual objects and sacred animals are drawn from early Roman historical roots which are placed to protect the figure. Paladino defines his figures as a shaman or a mathematician, who are thinkers of shapes and numbers. The faces of his figures express the wisdom of those who “know the zero and fire”, two essential concepts of life.
The Mixografia print workshop had its beginnings in Mexico City in 1968. Luis and Lea Remba created an open studio, publishing lithographs with artists like David Alfaro Siqueiros, Pablo O’Higgins and Leonora Carrington to fill the void of art printing shops in Mexico. When the Rembas approached the artist Rufino Tamayo about printing with them, Tamayo said he was interested but wanted to expand his horizons within the printing media; he wanted the prints to have volume and texture. This led to the invention of the Mixografia process which allows for three‐dimensional printing with deep texture and very fine surface detail. As with traditional press printing, a plate or matrix is created but unlike the traditional plate, the matrix is heavily textured and is three dimensional. A paper pulp is spread over the matrix and an extra thick felt blanket is placed over the plate which absorbs the water and forces the paper into the plate, embossing and inking the paper. Third generation Master Printer, Shaye Remba has continued to develop new printing techniques and has established a prestigious roster of international artists, who seek out the Mixografia studio to create unique three‐dimensional prints and reliefs.
What: Projections in New Media
Who: New media art installations and paintings by Derek Larson, Inhye Lee, Molly Bradbury, among others.
When: Friday, June 14, 2013 until Tuesday, July 19, 2013
Opening reception on Friday, June 28, 2013 from 5:00‐7:00 pm. Last Friday Art Walk in the Railyard Arts District.
Zane Bennett Contemporary Art is pleased to announce an exhibition of new media art installations and paintings by three artists: Derek Larson, Inhye Lee and Molly Bradbury. The exhibition opens June 14th in conjunction with Currents 2013, the Santa Fe International New Media Festival, an annual, citywide event. The opening reception is Friday, June 28th at the gallery, 435 South Guadalupe Street, across from the rail station, from 5:00‐7:00 pm to coincide with the Railyard Arts District Last Friday Art Walk.
Derek G. Larson combines digital media with paintings and animated projections. He will be showing light paintings which combine fluorescent light tubes with textured materials to create unexpected patterns. He will also be showing videos of natural phenomenon with motion and sound. The artist has had recent exhibitions in New Orleans, Philadelphia, New York and Helsinki. Larson received his MFA from Yale School of Art and he is preparing for the Hudgens Prize Finalists exhibition in Atlanta at
Korean born artist Inhye Lee, is based in New York City and earned her M.P.S. in New Media Arts from the Interactive Telecommunications Program at NYU. She will be presenting Piano: Face Jumble, an interactive video generated by a series of notes played by a performer to create a face. Ten different faces are mixed to create a new face. The screen is divided into parts, and with each note played, a different part of a face appears on the screen. Lee is interested in creating meaningful experiences in public spaces where interaction with real people happens. Through this interaction, ordinary surroundings can be transformed into a playground of the imagination, engaging the audience both emotionally and viscerally with the experience.
Molly Bradbury, video and sound artist working in Santa Fe, NM, has studied music since childhood. Bradbury recently earned her MFA in Studio Arts from the University of New Mexico with a concentration in Electronic Arts. By manipulating video footage and sound recordings, she transforms the ordinary into the phenomenal, allowing the audience to let go of their daily concerns and experience the extraordinary. In the video Transmission, the artist challenges the viewers’ perception of linear time. Images in real time are distorted and stretched so that what is perceived is a product of perception and may not be the reality that was filmed. Bradbury is interested in engaging he viewer to become aware of his or her own perceptions by experiencing visual and sonic motion that play against one another.
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