Yifat Gat's Studio Guests : Eve Aschheim David Rhodes

Yifat Gat's Studio Guests :

Eve Aschheim
David Rhodes

Mai 30 - June 15, 2013
opening 1 June 17:00
l’Ancienne Poudrerie Saint-Chamas 13250 FR.

PRESS RELEASE



Eve Aschheim / New York


Eve Aschheim’s approaches to image-making, concern line and light, interior and exterior space, rhythm and pattern, and gesture and a sense of play conveyed using the medium’s unique processes and material. As a single body of work, Aschheim’s luminous, shimmering, intimate photograms evoke architectural and natural space, and affirm the value of the handmade, constructed, and seen. Each resulting image captures the presence and process of emotion, searching, and thinking; for the viewer, looking at the images provokes feeling, exploration, and thought.Aschheim’s assembled and constructed images retain a semingly contradictory sense of vulnerability, openness, and surprise.

Eve Aschheim is a Lecturer at the Visual Arts Program at Princeton University. New York.
Recent solo exhibitions include: Galleri Magnus Aklundh, Lund, Sweden; Galerie Inga Kondeyne, Berlin; and Larry Becker Contemporary Art, Philadelphia.
Collections include: Museum of Modern Art, New York, NY; Hamburger Bahnhof, Berlin; National Gallery of Art, Washington, DC; Fogg Art Museum, Harvard University; Kunstmuseum Bonn, Germany; and The Lannan Foundation, Santa Fe, NM.



David Rhodes / Berlin


Rhodes’s work, all untitled, is part of the body of mostly black and white paintings that have occupied him for the past few years. Variously thin, taped, near-verticals, under which paint bleeds, make soft-edged lines that zip and zag, running up and down, not quite matching or aligning. In Rhodes’s images there are hints of signage, design, planning, mapping, traffic, interchanges, grains, wedging, each which their own conditions of place and space, layers or flatness: compact, energetic, open and closed, pressed and stacked, fitted and busting out, the world seeping in, the world beyond the painting, all struggling at the edges of the the conventional, containing rectangle. And there is a sense of playfulness and virtue found in no hesitation, repetition, following process, acceptance of decoration, and the value of work for work’s sake.

Widely exhibited, David Rhodes, is also a prolific writer about art, most recently for Artforum, The Brooklyn Rail, and Art Critical. Recent catalog texts include writing about: Ernst Wilhelm Nay for Michael Werner Gallery/Mary Boone Gallery; Nathan Peter for PSM Galerie, Berlin; Henri Matisse for Museum Ludwig, Cologne; and Mary Heilmann for Museum Ludwig, Cologne.
Upcoming 2013 group exhibitions include: Lion and Lamb, London UK; and JiM Contemporani, Barcelona, ES (Paul Pagk, Laurie Reid, Sam Reveles, & David Rhodes).
Recent selected solo exhibitions: Some Walls, Oakland, CA, Galerie Katharina Krohn, Base, CH; and Centrum Berlin, Berlin, DE. Recent selected group exhibitions: On Tour at Kunsthaus, Tosterglope, DE; X6 at galerie oqbo, Berlin DE; Futureshock 12 at Galerie Dr Julius, Berlin, DE; Crossing Abstraction II at Galerie-Kunsthaus and Forum Konkrete Kunst, Erfurt, DE; Twin, Twin at Pierogi, New York, USA; Paper Works and Rhyme Not Reason at Janet Kurnatowsky Gallery, New York, USA; Concrete Things at Forgotten Bar Projekt, Berlin, DE; Ramp at Parkhaus, Berlin, DE; Maximal Pleasure at Souterrain, Berlin, DE; and Offon at Galerie Hafenrand, Hamburg, DE.

Chris Ashley
======================
Yifat Gat's Studio is open by appointment only.
l’Ancienne Poudrerie Saint-Chamas 13250 FR.
View the exhibition online at http://contemporarydrawingsalon.blogspot.fr/
To schedule a visit, or for more information please contact yifat gat at gatyifat@gmail.com

Pages, Pages / devening projects + editions

Pages, Pages / devening projects + editions 
Chicago, Illinois, USA. April 28 - June 8, 2013

devening projects + editions has an ongoing interest in well conceived, thoughtfully developed and thoroughly arresting works on paper from artists connected to the gallery and those whose projects add a new dimension to the program. Pages, pages is a new exhibition in the off space offering a satisfying combination of material diversity and fresh conceptual strategies to keep the tradition well in place. The exhibition features recent drawings and works on paper from Alain Biltereyst, Britta Bogers, Gerd Borkelmann, Andreas Fischer, Matt Rich, Cary Smith, Jered Sprecher and Alice Tippit.

 Alain Biltereyst


Alice Tippit


Andreas Fischer



Britta Bogers



Cary Smith



 Gerd Borkelmann


 Jered Sprecher


 
                                                                          Matt Rich

EMERGENCE , Paris , 2013.

Une proposition de Erin Lawlor, Katrin Bremermann et Yifat Gat. 
text by Françoise Caille
Hôtel de Sauroy 58, rue Charlot 75003 - Paris. 13-27 avril 2013.

 Alain Biltereyst, Amy Feldman, Andrew Seto, Claire Chesnier, Clem Crosby, Don Voisine, Erin Lawlor, Marine Pagès, Eve Ascheim, Paul Pagk, Fieroza Doorsen, Radu Tuian, Katrin Bremermann, Richard van der Aa, Kevin Monot, Sharon Butler, Michael Voss & Yifat Gat.

EMERGENCE
concept utilisé pour évoquer l’interaction de systèmes simples suffisant en nombre pour faire apparaître un certain niveau de complexité qu’il était difficile d’appréhender par l’analyse de ces systèmes pris séparément. Les territoires de l’abstraction ici présentés relèvent aussi d’une géologie particulière des systèmes. Les artistes, chacun à leur manière, utilisent comme point de départ la ligne et son lacis de convergence, presque topographique, et ainsi tracent, voire balisent, l’étendue de ses champs d’influence. Les sculpteurs, quant à eux, élargissent le principe territorial commun au groupe et fonctionnent presque comme des rhizomes.



 
Alain Biltereyst

 

Don Voisine 


Michael Voss 


 Amy Feldman

Une tension forme-fond  
Biltereyst • Voisine • Voss • Feldman

Alain Biltereyst, Don Voisine, Michael Voss et Amy Feldman travaillent le rapport entre le fond et la forme en partant de figures simples qu’ils assemblent pour créer des structures plus complexes. Chacun à leur manière, ils défient la tension qui pourrait les rendre statiques. Biltereyst, le plus proche d’une géométrie stricte, laisse entrevoir les couches inférieures de matière et crée ainsi des vibrations de surface et une texture sensible. Voisine explore aujourd’hui la dynamique des angles afin de modifier les perceptions d’échelle et créer un champ visuel animé. Voss emboîte ou superpose des formes dont les limites imprécises trahissent le geste. Feldman déforme la rectitude et laisse place aux coulures et aux taches. Effets de matière, incision des angles, trouées dans la couleur, contours tremblés, lignes déviées... livrent l’essence d’une écriture vibrante.



 
Eve Ascheim

 
Yifat Gat

 
 Fieroza Doorsen  

 
Paul Pagk

Radu Tuian

 
Une architecture sensible de la ligne  
Doorsen • Gat • Aschheim • Pagk • Tuian 

 Fieroza Doorsen, Yifat Gat, Eve Ascheim, Paul Pagk et Radu Tuian travaillent
un langage de constructions imprécises. Chez Doorsen et Gat, la ligne et la répétition sont des éléments dominants et construisent des univers subtils et poétiques.
Aschheim, dans ses dessins, peintures
et photogrammes, brise et démultiplie le trait, l’enveloppe de lumière, l’efface, le réduit,
le prolonge, lui insuffle un rythme musical,
le transmue en lignes urbaines ou végétales. De même, Paul Pagk et Radu Tuian,
chacun à leur manière,
tourmentent la ligne et la forme
pour tendre vers un renouvellement
constant de figures et de signes.



Katrin Bremermann 


 
Sharon Butler

Kevin Monot

Le support en jeu 
Bremermann • Butler • Monot  

Chez Katrin Bremermann, Sharon Butler et Kevin Monot, le support joue un rôle déterminant. Il fait l’objet d’une recherche ludique et fertile chez Bremermann. Il dévoile son envers chez Butler, qui montre les châssis, laisse les bords bruts et les agrafes visibles, et garde l’état froissé d’une toile de lin : l’ensemble produit un sentiment de work in progress, qui se livre dans toute sa dimension sensible et trouve un contrepoint dans une peinture bien ancrée. Les supports de Monot émergent d’une collecte personnelle d’objets qui ont déjà vécu, papiers, cartons, feuilles en tout genre, dont il exploite le grain, la trace, l’accident... Les ruptures, obliques, pans coupés, débordements de Bremermann et l’aspect brut et inachevé de Butler sont souvent compensés par une douceur des formes et des couleurs. Une tendresse identique se produit chez Monot par le recours à l’effacement, le regard sur la tache, la pliure, la rature,
une couleur effacée, tout un répertoire délicat de la fragilité.
 
Marine Pagès 


 
Richard van der Aa


 
Claire Chesnier

Les champs de la structure  
Chesnier • Van der Aa • Pagès  

 Jean-Michel Alberola dit des œuvres de Claire Chesnier : « Ce n’est pas un travail d’alchimiste, mais de maçon ou de moine. Le reste lui appartient. » Précisément, son travail est tendu entre des formes massives et angulaires, où même la courbe est architecturale, et un subtil travail à l’encre où s’opère ce qu’elle nomme un « revoilement ». Liées aussi à l’architecture, les sculptures de Richard van der Aa et de Marine Pagès sont distinctes. Le premier recourt à un minimalisme de la forme. La seconde crée des ossatures abstraites et complexes, de soutien, d’emboîtement ou d’empilement. Ses dessins peuvent être perçus comme des illustrations ou des sortes de plans qui interrogent la notion de territoire.



 
Erin Lawlor

 
Andrew Seto 

Clem Crosby
 

La peinture comme territoire  
Lawlor • Crosby • Seto

L’idée de territoire est évoquée par Erin Lawlor. Son travail au sol d’une matière très diluée
« pose la peinture dans une position de territoire et non de fenêtre. Un territoire qu’on s’approprie [...] qui se laboure et s’élabore à la fois1. »
Le travail de ces trois artistes
porte en commun la trace de l’instrument, l’épaisseur du trait, une gestuelle contrôlée source de tension et la construction d’un espace court induit par la couleur.
Nous sommes dans « la capture de l’animé »,
qui se fige à un instant donné, mais reste éminemment vivant.
1. Erin Lawlor, Anima, Espace Mezcla, Rouen, sept-nov 2012.
Cette exposition propose d’explorer
quelques lignes, en filigrane, de l’abstraction actuelle dans sa liberté renouvelée,
où ce qui émerge du processus de création,
en peinture, en dessin comme en sculpture, relève de l’anticipation autant que de la mémoire.

 Contact presse :   Françoise Caille / francoisecaille@wanadoo.fr   
Contact rendez-vous : Katrin Bremermann : 06 15 59 13 74

http://emergencesystem.blogspot.fr

conversation with Sharon Butler *



YG: looking at the work,  two elements jump first,  the structured images and the way you treat the canvases. do you consider them as two parallel layers of information, or are they both part of a bigger idea?

SB: Whether the canvas is carefully stretched over handmade stretchers and obsessively primed, rumpled and tacked to the wall, or bought pre-made, the support (or lack thereof) is integral to each piece.


Brightly Colored Separates 2, 2010, oil on canvas, 30" x 40"

Back in 2010, after years of making my own supports or choosing pre-made materials for conceptual reasons, I made a series of 30 x 40 inch paintings on standard, pre-stretched canvas that took the object out of the equation.


Yellow and silver HVAC (Stencil), 2013
pigment, silica binder, staples, stretchers, on canvas, 18 x 14 inches.

Left with only the image, I realized how important the tension between support and surface was for me, so I returned to stretching the canvases myself. I started thinking more consciously about the process of building, and that led to a new series of paintings featuring  unstretched and ill-fitting canvas with staples on the front. I still use cheap pre-stretched canvases on occasion-- I imagine them as paintings I might find in a thrift shop or at a flea market.


google image

In terms of imagery, I’m generally interested in my surroundings. The geometric shapes in recent work reference the odd rooftop structures and makeshift architecture in Bushwick where I had a studio last year.


 
Ralston Crawford (American, 1906-1978), Turbine Shafts, Coulee Dam #2, 1971, oil on canvas, 20 x 30 inches, Kemper Museum of Contemporary Art, Kansas City, MO


I am like the Precisionists, a group of American painters in the early 20th-century who painted the industrial landscape, but the optimism inspired by industrialization and modern progress back in the day is long gone.

Stacked Vent, 2013.
pigment, binder, staples, stretchers and linen tarp. 18 x 12 inches

YG: yes, its about 'the tension between support and surface'. so the third element would be your choice of colors. they appear to be soft but their not actually. more nuanced monochromes than full colors. would you like to comment on your use of color?

SB: I make my paint by combining pigments with a silca binder, which enables me to make very thin but highly pigmented colors. The palette, which I think of as dirty pastel, references the worn out colors of the buildings, streets and walls in Bushwick.

regard sur les oeuvres de l'artothèque

Regards au pluriel
Regard N°3
vernissage le 2 à 15h
à la médiathèque de Cornillon-Confoux dans le cadre des de l'artothèque

im very pleased to curate the collection of the Ouest Provence artothèque.
directed by Beatrice Bea.
here is a preview:


 KUPFERMAN Moshe


 MORELLET François


SOULAGES Pierre



 AILLAUD G.
 
  
CROZAT Christine

A conversation with artist Pete Schulte




YG: your working with graphite on paper but the result feel like 'a painting' not
like 'a drawing'. any thoughts on those categories?

PS: Honestly, categories interest me far less than the experiences conveyed by works of art. That said, drawing is undoubtedly the cornerstone of my creative practice. I do it everyday, and wherever my work my roam, conceptually, formally, or in terms of media and materials, it’s point of origin is always in some way linked to the activity that I call 'drawing'. Curiously, artists from Bonnard to Richard Serra have linked the act of drawing to thinking – an observation with which I agree – however, I will take it a step further and say that for me drawing often precedes thought. The drawings occasionally act as my guides, they provide content and direction, and eventually cognition catches up. It has also been said that drawing essentially reveals the act of its making, while painting subsequently erases it. If one were to invest in this train of thought, then it is easy to see how much of my work could fit more readily into the category of painting. Ultimately, drawing seems to be something far more direct and immediate than painting, which I suppose is the reason why I identify my work as such.





YG: I like what you said about drawing And directness, and i remember Richard sera saying a similar thing about drawing as a 'thinking mechanism'. What are you working on right now?

PS: I just finished work on a solo installation entitled, A Letter Edged In Black, at the Visual Arts Gallery at the University of Alabama at Birmingham. It represents another chapter in a series of exhibitions uniquely realized and conditioned by the sites and circumstances in which they are shown. Profoundly influenced by recent travel in Italy, the installation, comprised of painted walls, window treatment, drawings, and sculpture, immerses the viewer in a singular experience: one that intimates the surface, texture and tonality of that country’s distant past, while remaining resolutely contemporary. It is by far the largest installation that I’ve done to date and I’m very proud of the outcome. I’m also excited because the closing reception (on 22 February) will feature a live-sound installation by two incredible improvisers, Andrew Raffo Dewar – soprano sax, and Brad Davis – electronics.






YG: i identify with the strategy of presenting works within a site specific installation not evident for painters now days, its more typical to conceptual contemporary artists. but doesnt it really go back in time to previous centuries, where painters did wall works, sculptures and sometimes the architecture of the building itself?

PS: Yes, of course. Never was that more apparent to me then it was this past summer during my travels. I wonder though about the notion of specialization that is embedded in your comment. On a certain level, the core of my practice is based on making fairly conventional objects – drawings on paper. However, I certainly do not feel that these works, taken independently, or as part of installations, are devoid of conceptual content or exist outside of the realm of conceptualism. I do not identify myself as a drawer, any more than I do as an installation artist, or conceptualist. I identify myself as an artist. I think that artists are explorers at heart. I will follow a line of inquiry and pursue it wherever it may lead. Drawing is the cornerstone of my practice, but my pursuits also include an integration of painting, sculptural, time-based, social, site-specific, and curatorial activities. At the moment, I am interested less in creating ‘installations’, than I am in creating a singular, immersive experience, one that may be composed of several constituent parts, but that ultimately functions as a complete and unified whole – whatever label one wants to put on it.




YG: looking on your drawing i was admiring the way you use grey as a middle point and contra-pointing it with white and black.
i also was wondering about the way the symmetrical works holds still while the non symmetrical create movements
would you like to elaborate ?

PS: Most of my drawings are improvised and found in the act of making. Even if I’m trying to give visual form to something conceptually specific or using another drawing as a starting point (which I often do), the drawings tend to be resolved based more on feel, mood, and/or visual rhythm, rather than any sort of pre-meditated outcome. On occasion those attributes are achieved through a muted tonal range, stark contrast, or a dynamic compositional device indicative of movement, at other times a quieter and more static sensibility emerges. Whatever the case, this tendency toward improvisation is part of the adventure and enjoyment that I derive from making the drawings, or any other form that my work may embody.






YG: what artists are you currently looking at?

PS: I look at a lot of work, from the distant past to immediate contemporaries, most of which tends to come and go, but then there are those that stick, the ones who touch you profoundly and continue to hold you in their sway: James Bishop, Agnes Martin, Frederick Hammersley, Giuseppe Penone, Felix Gonzalez-Torres, Anonymous Tantric Meditation Drawings from Rajasthan (thank you Franck Andre Jamme), American Plains Indian Shields and Parfleches, Franz West, Matisse, Fra Angelico, Richard Rezac, John Dilg, Robert Ryman, Philip Guston, Blinky Palermo, David Hammons, Helio Oiticica, James Lee Byars, Anne Truitt, and Raoul de Keyser, among others.





YG: any upcoming dates you would like to mention?

PS: I’ve done five solo shows and at least another five group shows in just over a year. I’m looking forward to settling into some solid and consistent time in the studio - to simply make some work, because that is where I love to be and what I love to be doing. Eventually, I will be developing a new project for a solo show at Beta Pictoris Gallery (Birmingham, Alabama) in March of 2014. Coinciding with that exhibition, I will also be curating a group show that I am extremely excited to begin work on.






YG: anything else?

PS: Yes, thank you for taking the time talk to me about my work and projects. It’s been a pleasure.