Non-Specific Objects Carves Niches for Difference from Universality @ Capitain Petzel in Berlin

The title of Non-Specific Objects acts as a counterpoint to the ideas expressed in Donald Judd’s canonical 1964 essay Specific Objects. Seeing as Judd characterized specific objects as separate from either sculpture or painting, they were precisely themselves, emphasizing the very materiality of a specific object that lacked expressive or symbolic content, especially to embodied subjectivity. This universal space, which aimed to be all-encompassing, did not make room for gender, racial, and sexual difference. The artists in this exhibition work against the hegemonic universal, creating space for difference in their works by means of abstraction, referencing bodies both literally and metaphorically.

The selection of works collectively embodies the contemporary lived experience of those who occupy spaces outside the normative. While they often do not overtly mirror the human form, the works represent humanity through a lens of abstraction and resistance, inviting viewers to confront themselves and experience bodily otherness. From alienation and embarrassment to intimacy and desire, the artists offer both the possibility of self-reflection and shared moments of humor.

In focus is the abstracted body – be it the intimate nature, materiality, and particularities of the individual human body, the collective body that is built on shared historic experience, the extended and amplified body in an age of relentless augmentation, or the body that eschews realistic painterly modes of representation, opting for formally abstract or heavily stylized, sometimes nostalgic renditions of humanity. The diverse set of artistic practices does not adhere to strict principles of representation, but continually references the human, sometimes clearly and often obliquely. It highlights objects that refuse human form but relate to the human by embracing abstraction.

Non-Specific Objects is on view through February 24th at Capitain Petzel, Karl-Marx-Allee 45, 10178 Berlin.

Wolfgang Voigt Births Rich Yet Minimalist Psychedelia with the Loop Principle @ Galerie Nagel Draxler in Berlin

In both his musical and pictorial work, Wolfgang Voigt predominantly adheres to strict conceptual principles, which he refines and diversifies consistently. Alongside his mostly sample-based, rather free-abstract to gestural musical and figurative language, it is primarily the “loop principle” that has always fascinated Voigt. The static or varied repetition of minimalistic structures creates certain patterns, grooves, and shapes. This way of thinking is shaped not least by the structure of computer-based music programs, permeating Voigt’s work in various ways.

Whether navigating the tension between 4/4th bass drum-based groove patterns and condensed visual sequences/loops, or reopening the loops and engaging in free-abstract deconstruction (re-enchantment/de-interpretation) – for Wolfgang Voigt, sampling and “the loop” represents a way of perceiving the world. Even when adhering to certain rules and concepts in selecting and processing his source material, he intentionally allows deviations to emerge, often locating what he is “looking for” not in the intended location but in its vicinity. In the virtuoso interplay between “man and machine” he is consistently focused on the simultaneity of strict conceptual minimalism and the hypnotic-psychedelic effect of beginninglessness and endlessness. This encompassed the conceptual-rational observation of surfaces through digital pop art lenses and the creation of intoxicating, shimmering surfaces. And it involves the negation of predictability.

Mit Maschinen Sprechen is on view through April 13th at Galerie Nagel Draxler, Weydingerstraße 2/4, 10178 Berlin.

Read Our Interview of Folk Artist Justin Williams On The Occasion of His Solo Exhibition @ Roberts Projects LA →

Oil painting by Justin Williams of his wife, Jade, reclining on a sofa behind a fortune teller.

Justin Williams
Major Arcana, death watching over Jade (2024)
Acrylic, oil, raw pigment and gold pigment on canvas
77.25 x 84.75 in (196.2 x 215.3 cm)

In Justin Williams’s newest exhibition, Synonym, at Roberts Projects, waves of stories collide and crash across timelines, pouring onto the canvas in lush and decadent palettes. Williams creates wormholes between his ancestral memories and the present day. His work carves spaces, ranging from cozy to claustrophobic, in which dead and living strangers coexist in moments of imagined connection. Williams’ world is seen through a kaleidoscope of childhood trinkets, native flora, and mythologized fauna, from goats to dogs to horses. The artist collects moments and mementos alike to collage in these quiet yet fantastical dreamscapes, mining through Westernized memories of suburban Australia and hitting rich veins of ancestral Egyptian aesthetics. Williams embraces the awkwardness of outsider life, and his work embodies the comforting realization that even outsiders create their own exiled community. To mark the occasion of Synonym, he discusses stories and people, which echo throughout his life and strangers whose moments of grief have shaped his work. Read the full interview here.

Judith Godwins’ First European Solo Exhibition Expressions of Life @ Pippy Houldsworth Gallery

Pippy Houldsworth Gallery presents American painter Judith Godwin's first European solo exhibition, Expressions of Life. The exhibition comprises an overview of the artist's work from the early 1950s - the period in which she was associated with the Abstract Expressionist movement - to the end of the century. The opening exhibition truly illustrates the artist’s lasting influence over the landscape of American art, despite the challenges she faced as a result of both her sex and sexuality.

Long underappreciated, Godwin’s contribution to the New York avant-garde has undergone recent revision following her inclusion in landmark exhibitions at the Denver Art Museum, Whitechapel Gallery and Fondation Vincent van Gogh Arles, that offered a reappraisal of women abstractionists of the 20thcentury. Her thesis was – and remained – one of liberation from the conventions of a movement anchored in a language of masculinity and heteronormativity. Starkly aware of the limitations imposed on her by the milieu in which she practiced, Godwin sought to redefine such ‘masculine’ values by way of gestural abstractions that brought a loose geometry into dialogue with nature, dance and Zen philosophy. Her innovative reorientation of the language of modernism remains a radical statement today.

 

Godwin’s interactions with the New York art world began early in her career. As a student at the Mary Baldwin College in her native Virginia, she sought the acquaintance of the modern dancer and choreographer Martha Graham. Godwin’s invitation to Graham to perform at her college laid the foundations for a lifelong friendship between the two, and Graham’s trailblazing path in a world dominated by men became a touchstone for Godwin. The diaphanous washes of colour, colliding forms and sensuous arcs which characterise Godwin’s works from the early 1950s are indebted to Graham, whose performances she frequented on arrival in New York, often watching from the wings.

 

By 1953 Godwin had settled in New York and was continuing her artistic education under Hans Hofmann, whose influence can be seen in her dynamic approach to composition and colour. Provincetown Summer, 1953, exemplifies Godwin’s facility for translating depth and volume into two dimensions. Introduced to Zen Buddhism by Abstract Expressionist painter Kenzo Okada, such philosophies began to play a larger role in her painting, encapsulated by calligraphic brushwork, redolent too of Franz Kline, another close friend of Godwin’s. As the 1950s continued, the artist’s work took on larger proportions and a darker palette, all the while maintaining an organicism and proclivity for light and space in her evocation of the spiritual in nature. Her vigorous abstractions caught the attention of influential art dealer Betty Parsons, who included Godwin as the youngest artist in the inaugural exhibition at Section Eleven Gallery in 1958 alongside artists including Agnes Martin, and went on to present solo exhibitions of her work in 1959 and 1960.

 

During the 1960s, as Pop Art and Minimalism began their ascent, Godwin distanced herself from the New York art world, retreating instead to Connecticut where she worked restoring 18th-century homes and trained in masonry, carpentry and landscape design. Her return to New York in 1974 saw a change in her paintings, which demonstrated a robust communion with the outdoors and a physicality that invoked the power of nature. With its assertive cardamom red palette and esoteric iconography, Elegy to a Slain Deer, 1975, captures Godwin’s investigation of the relationship between the physical and metaphysical. As in her paintings of the 1950s, her keen appreciation of the corporeal form is palpable in the material presence of her body on the canvas, in body-length arcs of the brush that express her movements with agency. The liberation of the body and its inherent sensuality continued to play a central role in Godwin’s works of the 1980s and 1990s, as articulated by the flesh-inflected palette of The Nest, 1994. Godwin died in 2021 at the age of 91, just as her work began to reach new audiences worldwide. Her lasting legacy is in the transformative nature of her practice, which successfully recalibrated the masculine language of gestural abstraction, shifting representations of womanhood and sexual identity on the canvas.

Expressions of Life is on view through March 9 @ Pippy Houldsworth Gallery 6 Heddon St, London W1B 4BT, UK

Read our Interview of Nicole Wittenberg Ahead of Her Debut Exhibition @ Fernberger Gallery in Los Angeles →

Nicole Wittenberg, Midsummer Morning 3, 2023. Image courtesy of Fernberger Gallery.

Garnering inspiration from riotous Fauvist material, Nicole Wittenberg intertwined herself with the world of art from the moment she saw Matisse’s Woman with a Hat. Rooted very confidently in her own intuition, Wittenberg has pursued interests related to her own gestural forms without much hesitation. Her artistic philosophy can be summarized by the kind of unbending compromise that turns heads and makes the world worth looking at. Imbued with synesthetic coloration, the work she portrays is embedded in its own unquantifiable emotional scale. She fearlessly plays with the kind of aggressive coloration that’s capable of conveying its own story, and her viewers get to reap the benefits. Nicole Wittenberg’s Jumpin’ at the Woodside is on view at Fernberger Gallery, a new gallery in Los Angeles. Well known for her erotica work, Wittenberg has garnered well-deserved attention for her experimentation with the body in space. After a shift in interest from figural forms to the entity that houses them, her focus turned to the landscape art we get to witness in Jumpin’ at the Woodside. Read more.

The Human Body and the Corpus of Los Angeles Intertwine in Catherine Opie's harmony is fraught @ Regen Projects

105 Freeway in harmony is fraught by Catherine Opie in Los Angeles

Catherine Opie, 105 Freeway, 1994, 1994/2024 © Catherine Opie, Courtesy Regen Projects, Los Angeles

Catherine Opie’s eleventh exhibition with Regen Projects, harmony is fraught presents over sixty photographs never shown publicly before, drawn from over thirty years of making pictures in and of Los Angeles. We see a deeply singular diary of Opie’s world—especially her early years as an emerging artist in the 1990s—intertwined with the complex public life of the city she made her home, from its signature freeways and landmarks, like the Hollywood sign, to scenes of activism and surfers at the beach. Together, they collectively trace a profoundly personal story, as well as the evolving drama and common grandeur of Los Angeles itself, a singular assembly of constructions, conflicts, and communities.

 
 

Installed in carefully considered constellations, photographs of freeways and bridges connect and encircle images of more private destinations, portraits of intimates, and telling interiors. Opie likens the literal, tender, resilient human body to the great corpus of the mutable city, always growing, aging, breaking, standing firm—another body with its own queer logic. Curiously, despite the quarter of a century or more that separates us from the moment of their making, many of these images seem to proffer the same city we know now. Likewise, we see subjects yearning for many of the same suspended desires or imperiled freedoms we seek today, evidencing a constancy (or stasis) that can be both touching and deeply unsettling.

harmony is fraught is on view through March 3 @ Regen Projects, 6750 Santa Monica Blvd. Los Angeles

Drunk on Violence, Sensual Chaos, and Alex Foxton's Swoon @ Galerie Derouillon

Sebastian (Hate-no-hama), 2023 Huile sur toile, Oil on canvas, 70 x 180 cm 27 1/2 x 70 7/8 inches
Courtesy of the artist and Galerie Derouillon, Paris© Grégory Copitet

Alex Foxton’s paintings are as cathartic as they are therapeutic. The ambiguity of his figures, the colours, the compositions and the narrative logic—also remind us of the fable of Abel and Cain that he has revisited—prevent any simplistic reading, and bring us face to face with the paradoxical violence that inhabits the acts of creating order. Here we find the artist’s fascination with images of young men conscripted into armies the world over, whose naivety and innocence can become the perfect fuel for fascist violence. The paintings, most of which are made up of several layers of other images, remind us, like a manuscript would, that the past informs the present—just as the present reconfigures the past, because the latter can only be read through the former—so all these scenes are rooted in our imaginations, ways of thinking, and upbringings: it does not go unnoticed to anyone that the protagonists are all boys. Chaos is also an inherent part of the method of composition, with the artist painting ‘on’ and ‘against’ ‘randomly prepared backgrounds,’ thus allowing an unconscious image to emerge.

These new works by Foxton take up these old dynamics within his work: a kind of exploration of masculinity and heroic figures, a questioning of the spatial, aesthetic, and symbolic role of color, keeping its distance from national narratives, and also a somewhat-thwarted declaration of love for older paintings. There seems to be a new perspective added to this, a desire to represent the scattered fragments of the world, violently thrown every which way, that people working with good intentions are still trying to weave back together, like Isis patching up the dismembered corpse of Osiris, or the tikkun olam of the Kabbalah. It is only by being patient and attentive with the world, despite the calls for destruction from any given side, that we will be able to purge the black bile that corrupts the hearts of men.

Swoon is on view through February 24th, 2024 at Galerie Derouillon, Etienne Marcel 13 rue de Turbigo, 75002

Springtime at the Scottsdale, Arizona Walmart Turns Commercial Landscapes into Sites of Nostalgic Mundanity @ Galerie Max Hetzler

Known for his paintings of man-made and natural landscapes, Jake Longstreth depicts American suburban and rural scenes with a clarity that is at once disquieting and subtly humorous. Devoid of human presence and bathed in perpetual midday light, these landscapes – among them American big box stores and chain restaurants – draw out a poetry of the everyday with a surprising warmth and painterly affection. Though American commercial developments may be considered a crass or ugly subject matter, Longstreth’s sunny neutrality underscores the fact that most Americans find them neither bleak nor remarkable. So ubiquitous that they are rarely truly seen, the stores and restaurants depicted in these compositions comprise a 21st-century version of the American commons. Longstreth encourages us to linger, be still, look. We might ask ourselves: What has become of these landscapes? What will become of them? Beyond the signature quietude of Longstreth’s landscapes, this body of work underscores the artist’s astute observation of landscapes in transformation. Revealed from unusual vantage points, tenderly rendered wildflowers, foliage, and trees cast dappled shadows on their surroundings, literally and metaphorically throwing into relief the cultivated domain that surrounds them.

Springtime at the Scottsdale, Arizona Walmart, is on view through March 2nd at Galerie Max Hetzler, Bleibtreustraße 15/16, Berlin.

Günther Förg's Diverse Utopia-Critical Body of Work Dissected @ Galerie Max Hetzler

 
 

Günther Förg’s comprehensive and multidisciplinary oeuvre, which spans five decades, includes painting, drawing, and murals, as well as sculpture and photography. The focus is on material, color, and space. The artist's experimental approach to abstraction and monochrome painting was directed against the trend toward figuration that prevailed in Germany in the 1980s. His works made continuous reference to 20th-century modernism, whose utopia he critically questioned. In this context, he engaged with art movements as diverse as early modernism, referencing artists such as Edvard Munch, or the American abstract expressionists including Mark Rothko, Barnett Newman, and Cy Twombly. Elements of conceptual art can also be found throughout Förg’s work, which additionally challenge traditional interpretations.

Günther Förg is on view through February 24th at Galerie Max Hetzler, Bleibtreustraße 45, Berlin.

Highlights From FOG Design+Art Preview Gala Supporting SFMOMA’s Education and Family Programs

The tenth anniversary of FOG Design+Art included a decadent preview gala to support SFMOMA’s Education and Family Programs, which benefits 100,000 young people across the Bay Area every year. This year’s fair included 45 exhibitions by twentieth-century and contemporary design dealers and leading art galleries, and the launch of FOG FOCUS, an invitational designed to showcase art by young and underrepresented artists. FOG FOCUS will features nine exhibitors as well as art installations, activations, and performances in Fort Mason Center’s Pier 2 building. FOG Design+Art is open from January 18th to 21st. Click here to purchase tickets. photographs by Perry Shimon

Highlights Of Art Basel Miami Beach 2023

Alex Israel, photo by Zach Hilty BFA.com.

text by Jennifer Piejko

“For Proust, it was the madeleine cookie. For me, it was 1980s frozen yogurt,” artist Alex Israel introduced his project Snow Beach Frozen Treats, an installation offering sweets as well as turquoise- and magenta-tinted views over South Beach. The nostalgic ice cream shop project (the artist’s family once owned a frozen yogurt shop in L.A.) was set up inside 1111 Lincoln Road, the Tropical Modernist parking structure designed by Herzog & de Meuron—a fitting opening for Miami’s annual art week.

While this year’s calendar had been somewhat more subdued than in years past, the work that made it to the city this year also felt more sensitive to the times, offering more balms and room for introspection than viral spectacle. Inside Art Basel Miami Beach, the city’s main fair, visitors were greeted with large-scale installations such as Ja’Tovia Gary’s Quiet As It’s Kept, centered in a 26-minute film made in response to Toni Morrison’s novel The Bluest Eye and featuring interviews with the author and Dr. Kokahvah Zauditu-Selassie, author of Spiritual Traditions in the Novels of Toni Morrison, as well as clips that call on the characters and concepts within The Bluest Eye—Lil’ Kim, historical documentary film footage, Azealia Banks, and hot takes on social media mixed with Gary’s original animations. A list of counties in Florida where The Bluest Eye is currently banned is posted at the installation’s entrance. 

Tribeca gallery Freight+Volume gave over their booth to the work of Karen Finley, one of the legendary four artists who sued the National Endowment for the Arts in 1990 after their fellowships were withdrawn after their work was considered indecent, pornographic, and obscene. Finley, as well as John Fleck, Holly Hughes, and Tim Miller, eventually won back their grants in the 1998 Supreme Court ruling, but the N.E.A., as well as U.S. public arts funding in general, reacted by retreating into even more conservative tendencies. Finley’s infamous Go Figure was on view for the 25th anniversary of the case, opening up a nude-model drawing class to fair visitors; some of the gallery’s artists were among the drawing participants in the artwork, drawing the body in protest of some of Florida’s recent rulings narrowing civil rights and a new generation of culture wars in the state. 

Cynthia Talmadge at 56 Henry

Painter Cynthia Talmadge made New York gallery 56 Henry’s booth a pastel-hued kaleidoscopic cube, with wall-sized pointillist paintings and a hand-dyed carpet, in Half Light, her re-creation of Color School painter Mary Pinchot Meyer’s Washington, D.C. studio, showing it simultaneously at three points in possibilities: first, the reality of her daily routine there, in 1963; second, the scene immediately following her 1964 murder, a still-unsolved case rumored to be an assassination by the C.I.A.;  and the third, what Talmadge imagines it would have looked like had the artist been working in 1969. Pinchot Meyer was enmeshed in D.C. high society as much as she was in leftist activist circles, and was seen as a threat to the former. Talmadge’s work of historical fiction underlines the fears that art, even in abstraction, can hold. 

At the Zurich and Paris-based Galerie Peter Kilmann’s booth, Los Angeles artists Raffi Kalenderian and Alberto Cuadros set up a prime destination for both having meaningful conversations as well as laughing them off: a bar, simply calling it Raffi and Al’s. Describing their collaborative work as a “Trojan horse for good times,” the mobile bar looked like a bespoke shipping crate on wheels, made from wooden stretcher bars, linen, and gold hardware and standard minibar drinks—champagne, wine, White Claws—on offer. Headshots of famed Raffi and Al’s patron, including Salma Hayek and L.A. gallerist Matthew Brown, as well as paintings by the artists and their friends and collaborators covered the bar’s surfaces and surrounding booth walls. 

After closing down the fair for the day, crowds swayed to something a little scruffier: a Lot 11 Skatepark, an open lot under a freeway. Sukeban was a one-night-only Japanese women’s wrestling tournament, hosted by Tokyo actor and writer Kunichi Nomura. Wrestlers dressed in anime-inspired costumes by Olympia Le-Tan, hats by Stephen Jones, and makeup by Isamaya Ffrench battled for a belt designed by Marc Newson. A sprawling, snaking night market took over the rest of the underpass. With every swing inside the ring, the crowds let out a roar that drowned out the endless traffic swirling around them. 

Gil Kuno's Early Internet Exploration Remains an Electric Testament to Online Creativity in Solo Exhibition @ panke.gallery in Berlin

Gil Kuno’s work is an intricate tapestry of sound art, installations, and video art. His current solo exhibition at Panke Gallery exhibits his earliest art creations – those created on the Internet in the 90s. 2024 marks the 30th anniversary of the first of these creations, Unsound. "Unsound.com" (1994) was a pioneering media experiment that fused sight and sound, allowing users to interactively engage with artists' works in both visual and audio formats. Through crowd-sourcing, it facilitated artistic curation by audience votes – an innovation that even captured the admiration of Timothy Leary, who subsequently endorsed the site. In 1996, Gil Kuno introduced Wiggle, the world's first Internet band. This groundbreaking endeavour leveraged the Internet's connectivity to forge musical collaborations across geographical boundaries, culminating in a band composed of members from Japan, Australia, and the United States. They achieved a major label deal and released multiple albums, all while some band members remained faceless due to their geographically dispersed nature.

Unsound: The Shape of Sound is on view through December 20th at panke.gallery, Hof V, Gerichtstraße 23, 13347 Berlin.

Caitlin Cherry Centers Black Femininity as Her Muse in Womanizer @ The Hole in Los Angeles

Caitlin Cherry, Lilphantoms (A Hot Summer Night at Crypto.com Arena), 2023. Image courtesy of The Hole.

Caitlin Cherry’sWomanizer is the artist’s second solo exhibition with The Hole. Through painting, sculpture and installation, Cherry creates a personal archive of Black popular culture on the internet by centering femme entertainers as her muses. Composed of celebrities from online image banks like Getty Images as well as sex workers, drag queens and social media influencers, these eight paintings depict popular radical aesthetics within the global Black diaspora. Through a simulated moiré pattern system, Cherry is able to recreate the phenomena of the viewing Black women through a computer screen in order to express how contemporary Black femininity is co-produced by technology.

Womanizer is on view through December 30 @ The Hole, 844 N La Brea Ave Los Angeles CA 90038

Brody Albert’s “Empty, Except for the Ghost” @ Hunter Shaw Fine Art

text by Hannah Sage Kay

An art deco jail turned squat, turned rave venue, turned arts organization, turned youth boxing club has sat abandoned for the better part of the last half century at 421 N Avenue 19. Broken glass and graffiti mark its facade of 16 pane windows, through which it seems idle riders walking to the bus stop across the street passed the time by throwing rocks. The composition that’s resulted has been documented and recreated by Brody Albert in a series of seven windows cast in white polymer gypsum which now hang across a warm gray wall at Hunter Shaw Fine Art. Supported by the clamps one might expect to find in some archeological display of a looted plinth or section of fresco ripped from its site to instead conjure the aura of times past for museum goers on the other side of the world, the windows on which these sculptures are based possess an indexical relationship with their city: a record of passing time, of resentment for its deplorable public transit, of ghost hunters in search of a troubled past and haunted present, of willful abjection that somehow passes for charm.

Proximity to the divine, the ancient, the supernatural, the famous seems to be a shared aspiration. Los Angeles undoubtedly draws those in search of the latter, and so it is a city marked by mundane lore wherein Hollywood bus tours will show you where celebrity lived, died, ate, and shat. But what about a bus tour for the city’s most desecrated spaces: abandoned buildings, vacant lots, discarded suitcases? 

A bird drinks from a small puddle of rainwater on the sunken surface of one such suitcase. Encountered by Albert on a morning walk—recast in epoxy and fiberglass and equipped with a hidden fountain to create a gurgling pool of water—the suitcase now sits at an odd angle on the gallery floor: a bird bath minus the bird. Absenting all signs of life, the suitcase and the windows together posit a future in which the desecrated is all that remains to represent our present—monumentalizing those banalities we try our best to ignore. Will anything else remain of the lives lived on N Avenue 19—except perhaps, the ghosts?

Brody Albert: Empty, Except for the Ghost will be on view at Hunter Shaw Fine Art until December 17.

Irony and Intimacy Intersect in Lovers in the Backseat @ FeldbuschWiesnerRudolph in Berlin

“‘Lovers in the Backseat’ refers to romantic and intimate relationships. Everything we do happens because we can't help it: Breathing, living, loving and creating art, these are our common elementary needs." (A.N. & R.S.)

The connection between the works of Robert Schittko and Anna Nero lies in the exploration of identity, playfulness and irony, as well as a slight sexiness that resonates in both artistic practices. They take the exhibition visitor on the "back seat", behind their shoulders, on the motorway, country road or overtaking lane - always on the way, but where are they actually going...? Both Nero and Schittko harbor an aversion to self-referential art. Instead, they explore the self in their studios and transform their lives into a vivid artistic practice. Each in their own way: Schittko's sculptural and photographic art focuses on the development of their own identity. Nero provokes with her abstract-representational paintings and ceramics.

Lovers in the Backseat is on view through January 6th at FeldbuschWiesnerRudolph, Jägerstraße 5, 10117 Berlin.

WhiteBox.LA Presents Tim Biskup: EMERGENT @ Face Guts Gallery In Los Angeles

For the past 15 years, Tim Biskup has been perfecting a style of monochrome graphite drawings on paper that has come to define his artistic practice. The abstract images he creates with a single block of graphite draw on modernist forms simultaneously reminiscent of the Isamu Noguchi and Henry Moore, but are executed with the whimsy and humor of contemporary flat field artists like and Joe Bradley and Jonas Wood. Biskup has garnered tens of millions of views of his live drawing videos posted to his @tbiskup account on Instagram. Many of the works created live on this platform will be exhibited as part of EMERGENT. Culled from thousands of finished drawings and studies Biskup’s Face Guts exhibition examines the process and breadth of this body of his work and includes works created throughout the 2020 pandemic and some as recently as the day of the opening event. Face Guts Gallery will also host a series of live drawing events that will allow the public to witness the spontaneous birth of Biskup’s graceful lines and will be integrated into the show as they are created. EMERGENT will be on view at Face Guts Gallery from December 9 to January 7 2024 with an opening reception on December 9th 5-8pm. 4136 Verdugo Road Los Angeles 90065

"Portraiture as Social Commentary" Showcases the Genre's Explosive Social Capital @ Persons Projects in Berlin

 

Zofia Kulik
Land-Escape I (2001)
silver gelatin print, 180 x 150 cm

 

Persons Projects’ latest group exhibition, Portraiture as Social Commentary, not only highlights the different aspects of the genre but also links together a variety of artistic perspectives. A portrait is a painting, a photograph, a sculpture, or any other representation of a person in which the face and its expressions are predominant. They reveal the presence of the subject viewed from the perspective of the artist – a merger of contrasts between what’s projected by one and perceived by another. These images become mirrors of many faces that reflect both the political and cultural undercurrents relevant to the time period in which they were conceived.

Portraiture as Social Commentary is on view through January 27th, 2024, at Persons Projects, Lindenstr. 34–35, 10969 Berlin.

Hugh Hayden Examines the Prosthetics of Power in Hughman @ Lisson Gallery

text by Tara Anne Dalbow

Upon entering Hugh Hayden’s Hughman exhibition at Lisson Los Angeles, you’re confronted by three interconnected rows of metallic stall doors, the same as you might find in a public restroom. The doors simultaneously invite you toward entry and expel you, intriguing as they are impersonal and ominous. Before you glimpse an object resembling art, you’re implicated in the hidden meaning, an active participant in its revelation. You’re immediately made aware of the physicality of your body, your relationship to the space, and the identity you present to the unknown system of order. Questions arise: Is this a gendered bathroom? Do I belong here? Who am I sharing the space with? The interactive element of opening and closing each door, maneuvering in, out, and between the confined, private spaces, renders engaging from a disembodied perspective nearly impossible. As the exhibition's title implies, there’s no leaving one’s hughmanity at the door.  

My initial impression of imposition and interest follows me into the first stall, where a carved commode sprouts a bramble of thorny fir tree branches. The protrusion of sharp limbs obstructs further inspection; the effect is claustrophobic and disconcerting, and I back out cautiously. Behind the next door, a baby’s crib constructed from barbed wire and chain link fencing; behind another, interlocking wedding rings with Descovy pills [HIV antiviral] where the solitaire would be; and behind yet another, a classroom desk consumed entirely by abrasive white nylon bristles. Each object offers participation in a facet of contemporary American life under conditions as unwelcoming, uncomfortable, and caustic as the specular toilet seat. 

The visceral materiality of the various textures, though not physically touched, commandeer the senses as the bristles scrape, the barbs prick, and the branches snag against your skin. Prongs, spurs, and skewers disrupt movement and threaten physical confrontation while also poking metaphorical holes in expectations and illusions. Here, the most fundamental promises of the American dream, like the right to an education, are rendered onerous, animating the question: for whom were these institutions made? If the skin you’re in determines your experience, and the object's surface or skin reflects the relative ease or distress of the encounter, then certainly not for the artist, a Black queer man, and by association, those like him. 

Hugh Hayden
Cleanse, 2023
High density polyethylene bristles, cast resin
66 x 38.1 x 35.6 cm
26 x 15 x 14 in
© Hugh Hayden, Courtesy Lisson Gallery

Hugh Hayden
Start 'Em Young, 2023
Chain link fencing and hardware
142.9 x 141 x 81.3 cm
56 1/4 x 55 1/2 x 32 in

© Hugh Hayden, Courtesy Lisson Gallery

Hugh Hayden
Brainwash, 2023
PVC and nylon bristles
83.8 x 66 x 73.7 cm
33 x 26 x 29 in
© Hugh Hayden, Courtesy Lisson Gallery

 
 

As I continued around the room, the stalls began to feel more like dressing rooms with various identities available for perusal inside. Within one, a suit jacket and pants sewn from the rough and rigid bark of a cherry tree hang from a clothing rack. Elsewhere: a football helmet encompassed by boar hair, and still elsewhere: a bronze strap-on harness with a gun protruding from the crotch. The striking contrast between organic materials and those that are artificial and mass-produced recalls the antagonistic relationship between what’s natural and instinctual and what’s a consequence of sociopolitical structures. For whom are these spaces made? 

Those capable of comfortably wearing the prosthetics of power appear as idealized, neoclassical male torsos carved from white silicone. They wear their means for control where their sex would be; for two, cocked pistols; for another, an abject skyscraper. A fourth iteration sees the male body replaced by a miniature basswood model church whose phallic steeple hangs limply across the shingled roof. In a nod to the dominant enterprise in Los Angeles, a director’s chair projects tapered wood penises in every direction. The appendages appear to both protect the seat of power and stage an assault on the unendowed who come too close. Their audacious vulgarity tempers the violence of the cultural implications and satirizes familiar tropes like toxic masculinity and the male impulse to think with an organ south of the brain.  

When that door closes with a bang—emphasized by the acoustics of the room and made ominous by the presence of so many firearms—another door opens onto a bronze and acrylic sculpture of the waist and thighs of a man in navy uniform pants sporting a flashy leather belt, holstered gun, and handcuffs posed atop his white pedestal. Only when you move around the sculpture or are so moved by it do you see where the right side is sliced open to reveal beneath the uniform, armor, weaponry, beneath even the skin, the internal organs, veins, and bones within. The same veins in him that carry the red-blue blood between my heart and feet, the same stomach as the one that rumbles, hungry to be filled full when empty in Hayden, in him, in me. The man is twinned by another sculpture in the exhibition of a tree trunk spliced open to expose the biological contents of a womb carrying a luminous carved baby. 

Hugh Hayden
Real Tree, 2023
Cherry bark on Zegna Suit
Suit: 99.1 x 91.4 x 17.8 cm
Suit: 39 x 36 x 7 in
© Hugh Hayden, Courtesy Lisson Gallery

Hugh Hayden
Eve, 2023
Cherry Bark and acrylic on resin, Black Walnut
63.5 x 38.1 x 25.4 cm
25 x 15 x 10 in
© Hugh Hayden, Courtesy Lisson Gallery

Their combined effect illuminates how stripped of societal status, we are of the same nature and origin and made from the same stuff. As intricately connected to one another as we are to the trees, the earth from which the trees grow, and the animals, like the stuffed buffalo in another stall, roam. Hanging together in a red-flocked closet, two raceless, genderless, crimson rib cages tenderly embrace—as the only forms made from material gentle enough to hold and be held. The fellow feeling carries me out of the closet, the stall, the gallery, and I re-enter the world a little more human than I was only an hour before.

Hughman is on view through January 13 @ Lisson Gallery, 1037 N. Sycamore Avenue, Los Angeles

 

Hugh Hayden
The Audition, 2023
Bald cypress, steel hardware and canvas
149.9 x 188 x 154.9 cm
59 x 74 x 61 in
© Hugh Hayden, Courtesy Lisson Gallery