#joerg lohse

[sheltiechicago]

“Piano Bird” (2021), piano legs, keys, and wiring, 34 x 32 1/2 x 42 inches. Photo by Joerg Lohse.

In ‘No Strings,’ Willie Cole Transforms Instruments into Abstract Animals and Figurative Sculptures

Artist Willie Cole is known for transforming discarded materials into sculptures with a tenor of interrogation. Much of his three-dimensional work revolves around found objects like high-heels, plastic bottles, or ironing boards that he turns into pieces of cultural commentary, addressing issues of mass production, historical legacies, and identity.

“Two-Faced Blues” (2021), Yamaha acoustic-electric guitar parts, 23 x 29 x 15 1/2 inches. Photo by Joy Whalen

“Picker” (2022), Yamaha 3/4 size acoustic guitar parts, 27 x 15 x 15 inches. Photo by Joy Whalen

“Joy” (2021), Yamaha 3/4 size acoustic guitar parts, 44 1/2 x 22 x 7 1/2 inches. Photo by Joerg Lohse

[dinnickhowellslikes]

[nazzzzzz4]

Willie Cole: Bella Figura. May 3 - June 22, 2019. Alexander and Bonin, New York. Photo: Joerg Lohse

Willie Cole, Untitled, 2013, Bill Hodges Gallery

Willie Cole The Ogun Sisters, 2012 October 14, 2023, Auction Closed, Willie Cole, The Ogun Sisters, 2012

Willie Cole Proctor Silex Men's Masks 1, 1998

Willie Cole, Quick as a Wink., 2002

[garadinervi]

Eugenio Dittborn, 2nd History of the Human Face (Socket of the Eyes), Airmail Painting No. 66, 1989 [Harvard Art Museums/Fogg Museum, Margaret Fisher Fund, 2013.11. © Eugenio Dittborn. Photo: Joerg Lohse]

[infinitestream]

Paul Thek, “Untitled (Meat Piece with Chair), 1966

wax, bronze, formica and plexiglass

16 1/2 x 21 1/2 x 9 1/2 in

Photo by Joerg Lohse, ©Estate of George Paul Thek, Courtesy Alexander and Bonin, New York.

[brooklynmuseum]

Juliana Huxtable is known as much for her boundary-pushing work as a DJ and nightlife host as for her incisive performances, poetry, and mixed-media artworks. These dizzying, digitally collaged satires of political posters and DIY buttons, overlaid on images of the artist’s paintings, parody the language of oversaturated conversations about identity politics and conspiracy theories. One transforms the title of a transphobic book by controversial white radical feminist Janice Raymond, The Transsexual Empire: The Making of the She-Male (1979), into a rallying cry affirming trans womanhood.

In her works on view in Nobody Promised You Tomorrow, Huxtable excerpts and remixes right-wing radio talk shows, YouTube comments on channels dedicated to Black masculinity, and more into what she terms an “aesthetics of conspiracy,” pointing to an endlessly rich, if chaotic, range of identities and interpretations.

Juliana Huxtable (American, born 1987). The Feminist Scam, 2017. Inkjet print, vinyl, magnets on metal sheet. Courtesy of the artist and Reena Spaulings Fine Art, NY/LA. © Juliana Huxtable. (Photo: Joerg Lohse)

[msamba]

In 'No Strings,' Willie Cole Transforms Instruments into Abstract Animals and Figurative Sculptures | Colossal

In ‘No Strings,’ Willie Cole Transforms Instruments into Abstract Animals and Figurative Sculptures | Colossal

MARCH 17, 2022. GRACE EBERT “Piano Bird” (2021), piano legs, keys, and wiring, 34 x 32 1/2 x 42 inches. Photo by Joerg Lohse. All images courtesy of Alexander and Bonin, New York Artist Willie Cole is known for transforming discarded materials into sculptures with a tenor of interrogation. Much of his three-dimensional work revolves around found objects like high-heels, plastic bottles, or…

[don-lichterman]

In ‘No Strings,’ Willie Cole Transforms Instruments into Abstract Animals and Figurative Sculptures

In ‘No Strings,’ Willie Cole Transforms Instruments into Abstract Animals and Figurative Sculptures

 Art Music #birds #dogs #found objects #guitars #instruments #pianos #sculpture March 17, 2022 Grace Ebert “Piano Bird” (2021), piano legs, keys, and wiring, 34 x 32 1/2 x 42 inches. Photo by Joerg Lohse. All images courtesy of Alexander and Bonin, New York, shared with permission Artist Willie Cole is known for transforming discarded materials into sculptures with a tenor of interrogation.…

[paintingafterpainting]

Ree Morton

Untitled  c.1973 lithograph 22 x 30 in/55.9 x 76.2 cm photo: Joerg Lohse

[micaramel]

Artist: Merlin Carpenter

Venue: Reena Spaulings, New York

Exhibition Title: Paint-It-Yourself

Date: January 31 – March 1, 2020

Click here to view slideshow

  Full gallery of images, press release and link available after the jump.

Images:

Images courtesy of Reena Spaulings, New York. Photos by Joerg Lohse.

Press Release:

Dear Emily and John,

As you know I am not going to come for the opening of my show Paint-It-Yourself. I could imagine this might leave you in a strange social situation so I thought I could explain in a few sentences what it’s about.

First of all this show is a bit of a reaction to the sameyness of a lot of painting. It’s almost like the whole thing turned into zombie formalism. Figurative formalism. Add the number of older white men going around talking about “real” painting which they are finally “allowed” to do, and you have a boring conservative atmosphere that I am at risk of being dragged into with my own paintings. So let’s clear the decks. “You want a painting show, well then paint-it-yourself.” It doesn’t matter what it looks like anyway. Probably with my own history of readymade painting right back to the ones that remained unpainted at “The Opening” I can get away with this kind of shit and still call it a painting show. I’d anyway been musing about doing massively zoned out abstract paintings which led to the vague thought that this would mean showing only blank canvases and paint.

But there is something more. Starting with my exhibition at Nousmoules in Vienna in 2018 where I claimed to be “Not Doing a Show in FPÖ Austria” but actually did one, I have been working on an idea of doing a show and not doing one at the same time. This continued later that year when I moved Overduin & Co. from LA to Amsterdam so that I could show there instead of in Trump’s USA. But then I went straight back to LA and did a second, simultaneous, exhibition where I sat around chatting with visitors for the show’s duration. 

It’s a little bit hard to explain what I was driving at. I was setting up a situation in which multiple realities can live side by side, but not in a metaphysical way. I wanted to find a language that was both left wing and could use irony to help me navigate worsened political contexts. So instead of using right wing material as a left wing joke, I would make the simplistic left gesture as a formal joke in relation to a more rigorous hypothesis. I was serious about not doing “business as usual” in the US, but all this really involved was changing my practice to mark this new context. And then making art in the US which was more typically “Merlin” than ever. 

In the LA / Amsterdam project I was thinking about how the current political situations in the EU and the USA mirror each other, one still “neo-liberal”, the other bordering on far right. In my view, capitalism’s crises do not cause it to break down, but instead it uses supposedly external factors like nationalism or climate change to force itself onward. My two simultaneous exhibitions were intended as a metaphor for how the far right model acts as a kind of fear lever, a threat intensifier for the neo-liberal model. And maybe the centrists have a similar effect, by continuously re-creating the far right’s starting conditions. These two models madly arbitrage each other and forge new totalities, in a ratchet effect. And through that summing-up process what previously justified the existing order and made it seem to make sense is “cracked”. It’s an almost Steve Bannonesque process of seizing, flipping the totality on its head. Every debate is changed within these freshly minted regimes. For example the injunction we are presented with not to fight capitalism, but save capitalism – save the EU, save the Democrats. 

This picture of what might be happening was developed after, and by means of, my own “two locations at once” art idea. One gallery stands in for the other, as in therapy – to lay the dialectic out, keep its inner configuration open. For our current show I was first considering putting the blank canvases in a gallery in one part of the world, and the box of paint in another gallery in some other place. But then I thought it might be more interesting if they were both in New York, as if the box had just teleported through a secret door, to make a single, fused, half-show. And there is still a physical distance: in late 2018 the paintings remained in the EU, and I flew to LA, but this time the paintings are in New York, but I’m not showing up. 

All the very best, good luck, have fun!!

Merlin

Link: Merlin Carpenter at Reena Spaulings

Contemporary Art Daily is produced by Contemporary Art Group, a not-for-profit organization. We rely on our audience to help fund the publication of exhibitions that show up in this RSS feed. Please consider supporting us by making a donation today.

from Contemporary Art Daily http://bit.ly/2PATpNk

[sheltiechicago]

Lewis Hammond, the pull of this world, 2022, oil on wood panel, 19.75 × 15.75 inches. Photo by Gunter Lepowski.

Lewis Hammond Interviewed by Olivia Parkes

Painting dark portraits.

Lewis Hammond, early attrition, 2023, oil on canvas, 71 × 47.25 inches. Photo by Joerg Lohse. Courtesy of the artist and 47 Canal.

Lewis Hammond, Returnal, 2022, oil on canvas, 31.75 × 23.5 inches. Photo by Gunter Lepowski. Courtesy of the artist and Arcadia Missa.

Lewis Hammond, false flag, 2023, oil on linen, 11.75 × 10 inches. Photo by Joerg Lohse. Courtesy of the artist and 47 Canal.

[cljrealty]

Tweeted

Hey JOERG LIGHTERBIZ LOHSE(@JoergLohse), thank you for following me

— Cornelius L. Jackson (@CLJRealty) March 6, 2019

[connorrenwick]

Lasers in a Gallery: Rita McBride’s Particulates

Sixteen high-intensity lasers cut through the misty air of a dark garage in West Chelsea. The latest work by artist Rita McBride feels like an inter-dimensional wormhole. It’s beautiful, legitimately dangerous, and it just took Art History to a new level.

Particulates will remain on view in New York at Dia:Chelsea, a former marble-cutting facility, through June. The building looks completely shuttered – enter through the single doorway on the right with the “Danger: Laser Radiation” sign.

Besides the lasers, materials are listed as “site-specific particulates, ambient extraterrestrial dust, and water molecules (which I’m pretty sure is just the coolest way to say “regular dust and mist”). I love it.

Rita McBride, Particulates

Rita McBride, Particulates (and me)

Rita McBride, Particulates (detail)

The zig-zagging fence in the room is not to be ignored: It is both legally necessary AND a separate sculpture. Titled Barriers 2017, it consists of a carbon-fiber gate placed at the “lawful distance” from the high-intensity lasers.

Rita McBride, Barriers

Particulates marks McBride’s first use of lasers as a material – inspired by a visit to Dan Flavin’s 1973 work ”Untitled (to you Heiner, with admiration and affection)” at Dia:Beacon, the art foundation’s primary exhibition space located 60 miles north. McBride references Flavin’s the green light, the “fence” form, and the idea of infinity, but HER work really IS infinite. Unbound by a light bulb, the only thing that’s really stopping the lasers is the opposite wall. Thinking about the two works in conversation, I couldn’t help but notice that the lasers face north – towards Flavin’s room in Beacon. I may be reading into it a little and inventing my own connection, but one’s imagination tends to go into overdrive when you’re in this room.

Rita McBride, Particulates

ATTENTION: Throughout the run of the show, the sculpture will be live streamed (usually) from a wall-mounted camera INSIDE the sculpture!!! Check it:

What: Rita McBride: Particulates Where: Dia:Chelsea 541 W 22nd Street (Note: The primary museum is $ admission, but you can enter 541 for free) When: October 17, 2017 – June 2, 2018

Cover photo by Joerg Lohse courtesy Dia:Chelsea © Rita McBride. All other images photographed by the author David Behringer.

via http://design-milk.com/

from WordPress https://connorrenwickblog.wordpress.com/2017/11/16/lasers-in-a-gallery-rita-mcbrides-particulates/

[nofomoartworld]

Hyperallergic: Sylvia Plimack Mangold’s Spring and All

Sylvia Plimack Mangold, “Summer Maple 2016” (2016), oil on linen, 40 x 50 inches (all images courtesy Alexander and Bonin, New York. All photographs by Joerg Lohse)

As much as Sylvia Plimack Mangold’s paintings are about the trees she sees from her studio window in Washingtonville, New York, they are also, just as importantly, not about them. Let’s begin with that paradox, because what I think gets neglected in our estimations of this wonderful painter is the artifice she incorporates into her work. In fact, she incorporates artifice so seamlessly we are apt not notice it, and that is one of the many joys of these understated paintings.

I thought again about this paradox when Emma, who works behind Alexander and Bonin’s front desk, said that she could tell by the faces of visitors as they entered the gallery, that Plimack Mangold’s work induced in them a feeling of serenity. In this age of turmoil, something that can calm us down and allow us to reflect on an experience as simple and plain as maples leaves or bare branches in gray winter light is to be treasured.

Maple leaves and rising branches continue to be artist’s focus in her exhibition of paintings, watercolors, and drawings, Sylvia Plimack Mangold: Summer and Winter, (May 2 – June 24, 2017) at Alexander and Bonin’s new, spacious digs in Tribeca. One could say the leaves are irregular forms or planar shapes that crowd the painting’s picture plane. Each maple leaf is a distinctive hue, adding up to a profusion of similar but individual forms that nearly blanket the surface. Their relationship to the picture plane is always specific: some are parallel to it, while others are at a sharp angle. Nothing seems to be repeated, meaning each thing had to have been seen for itself, without schematizing or generalization. Moreover, each leaf defines its own space. Their constantly changing orientation activates the painting’s surface.

Installation view of “Sylvia Plimack Mangold: Summer and Winter” (2017), Alexander and Bonin, New York

Sunlight falls on some of the leaves, while others are in the shade. The artist seems to move back and forth between delineated shapes and smears of paint, with some leaves incorporating both pictorial possibilities. This perceptual disjunction forces us never to lose sight of the fact that we are scrutinizing a painting, which takes as its subject something that we are not likely ever to stop and look at in our daily lives: layers of leaves midway up a maple tree on a summer day. This is where the artifice comes in. We have been given a direct, if cropped, view of the midsection of a tree from an unspecified height. In some profound sense, we cannot get closer to the subject, because to do so would transform it into something more generalized and abstract; nor can we step back and see the whole thing, due to the cropping, a view that is deliberately not picturesque.

I cannot think of another artist devoted to nature who chooses such unlikely, decidedly plain, almost unsightly views, but never makes that act the point of the painting. This is another one of the paintings’ paradoxes: we are looking at leaves, but not innocently. There is nothing seductive about the  colors, the shapes, or the view, but I stand before each work, entranced. Maybe it is because I have lived in cities all my life, but I believe that I have looked longer at one of Plimack Mangold’s paintings of maple leaves than I have spent time contemplating the real thing.

Sylvia Plimack Mangold, “Summer Maple Detail 2015” (2015), oil on linen, 30 x 24 inches

In “Summer Maple Detail” (2014), Plimack Mangold brings us even closer to the tree, clustering together many different but related hues of green. In some places, you see where she has scraped the surface. We are in a zone where the difference between representation and abstraction is beside the point: we might as well be figuring out how many angels have gathered on the head of a pin. The painting is simultaneously calm and agitated. She  has brought us to that phase of intense, concentrated  looking, where forms appear to be changing before our eyes, where seeing loses contact with the verbal. The artist gives us a way to lose ourselves in something all of us know. This is what Emma meant by serenity.

So far, I have written only about the works in the front room of the gallery, as I was in no hurry to leave them. In the second room, beyond the desk, we find the artist’s winter views: bare branches rising from the bottom edge to touch the top: another cropped view. The bare branches closest to the picture plane in “Winter Maple 2017” (2017) are painted in different hues of gray. The ones further back are faint lines of paint on the cusp of dissolving into the wintry blue-gray sky. Form giving way to light, not as a comment about the transcendent, but as a fact of observation; we cannot see it all. The views are cropped, not panoramic. We do not own the earth.

Sylvia Plimack Mangold, “Winter Maple 2016” (2016), oil on linen, 24 x 36 inches

In each of Plimack Mangold’s winter paintings, the sky is a distinct hue. Her blues are ones that Brice Marden would devote whole panels to, as in his nine panel, “Ru Ware Project” (2007-2012). Perhaps we should be paying more attention to Plimack Mangold as a colorist whose sensitivity to tonality and hue is always at the service of observation and the possibilities of paint.

Nearby, the three graphite and watercolors of the same pin oak were all done in August 2015. In each of them, the artist returns to the same view at that point in the season when the leaves are turning yellow and many have fallen. By returning to the same motif and rendering what she is looking at — the ever-changing leaves — she marks time without calling attention to it. The plainness of her subject, the interest in observation that is inseparable from artifice (as evidenced by the framing of her subject) is about attention, a kind of devotion to the ordinary that we rarely encounter in this world.

Sylvia Plimack Mangold, “Fall Maple Detail” (2014), oil on linen, 15 x 20 inches

I don’t think it is too much to say there is something extraordinary about what Plimack Mangold does, and has been doing throughout her career. Her celebrations of the immediate, sensuous world are always directed towards the elemental: leaves, branches, sky, light and air. Her clarity of purpose and singular, quiet insistence on dealing with such mundane things call to mind the plainspoken directness of the great American poet William Carlos Williams. Her unadorned and humble subjects possess a rare grace in this world of expensive overproduction and self-declaimed greatness.

Sylvia Plimack Mangold: Summer and Winter continues at Alexander and Bonin (47 Walker Street, Tribeca, Manhattan) through June 24.

The post Sylvia Plimack Mangold’s Spring and All appeared first on Hyperallergic.

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[visualculturenow]

Stewart Uoo, Don't Touch Me (Bikrahm Yoga), 2012

Courtesy of the artist and 47 Canal, New York. Photography by Joerg Lohse

From KALEIDOSCOPE Issue 16 (Fall 2012)

[ownerzero]

Merlin Carpenter at Reena Spaulings

Artist: Merlin Carpenter Venue: Reena Spaulings, New York Exhibition Title: Paint-It-Yourself Date: January 31 – March 1, 2020 Click here to view slideshow   Full gallery of images, press release and link available after the jump. Images: Images courtesy of Reena Spaulings, New York. Photos by Joerg Lohse. Press Release: Dear Emily and John, As you know […]

The post Merlin Carpenter at Reena Spaulings appeared first on AWorkstation.com.

source https://aworkstation.com/merlin-carpenter-at-reena-spaulings/