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- New York, NY, 10001
- 電話號碼：
- (212) 244-7415
- 星期二 - 星期六：
- 11:00 - 18:00
活動
6 項已舉行的活動觀看全部
- AIKO 'Love Monster'
Joshua Liner Gallery
4月18日 18:00 - Tomokazu Matsuyama 'Glancing a...
Joshua Liner Gallery
3月6日 18:00 - New Works by Crash (John Matos...
Joshua Liner Gallery
1月17日 18:00 - Kris Kuksi "Imminent Utopia" a...
Joshua Liner Gallery
11月22日 18:00 - Damon Soule "Amused Loon" and ...
Joshua Liner Gallery
10月11日 18:00 - It Wanders (east)/Village of Wind
Joshua Liner Gallery
9月6日 18:00
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網誌
網誌觀看全部
- Jeremy Fish and Josh Keyes 2008年7月16日 15:04
Joshua Liner Gallery
AIKO
Love Monster
April 18–May 16, 2009
Opening reception, Galleries I & II: Saturday, April 18, 6–9 PM
New York, NY. April 2, 2009 -- Joshua Liner Gallery is pleased to present Love Monster, an exhibition of new mixed- media works by the Tokyo-born, Brooklyn-based artist AIKO. Love Monster is AIKO’s first solo outin......g at the gallery and her largest show to date.
As a founding member of the artist collective FAILE, formed in 1999, AIKO helped fuel the current wave of global contemporary street art with spontaneous wheatpastings and stenciling in numerous world capitals. The artist launched a solo career in 2006 with works on canvas that incorporate collage, stenciling, brushwork, spray paint, and serigraphy. This bricolage technique perfectly suits AIKO’s eclectic practice—a voracious mash-up of Japanese and American pop culture, including comics, children’s book illustrations, advertising, classic movie posters, and soft-core pornography.
AIKO draws inspiration from the urban street, Kawaii culture (“cute” in Japanese), and globalized depictions of female sexuality. While a Media Studies student at New School University in New York, she hid her art in plain sight by wheatpasting images throughout the city. It was then that she developed a signature synthesis of commercial graphics, sexual imagery, and the vocabularies of seduction and fantasy found in print, film, and electronic media. The implied decay of the graffiti-style works reads not only as autobiography but also as a subtle breakdown of surrounding structures. Welcome to the Planet of Lady A, for example, features a provocative soft-porn image silkscreened onto a window, all elements reclaimed from cultural and literal junk heaps.
Like Warhol in the ’70s, AIKO embraces silkscreen techniques as the ultimate (and seemingly timeless) signifier of the contemporary. Madam Butterfly elegantly combines a reproduced newspaper image with collaged decorative motifs, masking and transforming the identity of the painting’s female subject. In the show’s title work, Love Monster, the artist layers nude nymphets holding spray paint with the recurring tags “King” and “Knights” to capture not only the relational aesthetics of the day but also contemporary culture’s relative ethics. Here and elsewhere, her visual language borrows from fairytales and pulp fiction—virgins and vixens—exploring themes of romance, morality, and religion. Yet AIKO’s energetic works eschew judgment in favor of something more generative, a pop-culture phoenix rising from the real and virtual ashes of the urban street.
AIKO (Nakagawa)’s debut solo exhibition, Shut up & Look, took place at Brooklynite Gallery in 2008. Selected group exhibitions include: in 2008, Heart & Soul, Alphabeta, Queens, NY; Time Changes, Calm & Punk Gallery, Tokyo; PINK AIKO: Brick Ladies of NYC, Ad Hoc Art, Brooklyn; and in 2007, Heart Throb, Merry Karnowsky Gallery, Los Angeles; Bestial, Iguapop Gallery, Barcelona, and Eleven, Leonard Street Gallery, London.
Joshua Liner established Joshua Liner Gallery in New York City’s Chelsea district in 2008. Building on the success of his former, Philadelphia-based Lineage Gallery, Joshua Liner’s Chelsea space introduces an exciting roster of young and emerging artists from the West and East coasts, Asia, and Europe.
For more information, please visit www.joshualinergallery.com, or contact Tim Strazza at 212.244.7415 or tim@joshualinergallery.com.
Joshua Liner Gallery
New York, NY December 7, 2009 -- Joshua Liner Gallery is pleased to present Unfinished Business, an exhibition of paintings on canvas and paper by the Bronx-born artist known as Crash (John Matos). This is Crash’s first solo show with the gallery.
Including new paintings and selected works from the 1990s, the exhibition...... highlights the unique place Crash holds in the development of late 20th century visual culture. Some twenty years after Roy Lichtenstein first brought comic books into the fine art discourse, Crash did as much for American graffiti, incorporating his signature tags and style into large, spray-painted canvases. Once transposed, this street language identifying cultural groups and delineating urban territory assumed new meanings and relevance, appraised finally for its formal inventiveness.
In more recent works, Crash excerpts mere details from his wider language of linguistic signs, graphic forms, and rainbow-hued embellishments. Rendered as pure abstraction, these edited bands are placed in contrast with details from the human body, eyes in particular. Sandwiched between wildly colored bands of graffiti-styled marks, these glistening eyes both accentuate and subvert the seductiveness of Crash’s self-styled visual language. Commercialism is at once embraced and repelled. Much like the Pop artists Lichtenstein and Tom Wesselmann before him, Crash identifies the graphic arts of his own era as both a communicator and container for human desires—with a measure of the street artist’s ambivalence intact.
John Matos (aka Crash), born in 1961 in the Bronx, began his career at 13 and quickly gained recognition for his murals on subway cars and dilapidated buildings. Working under the name “Crash One,” he is regarded as a pioneer of the graffiti art movement. Matos later transferred his art from the street to canvases and has exhibited in museums worldwide. Additionally, the artist has created signature Stratocaster guitars for musician Eric Clapton and was commissioned by Fender Musical Instruments for a series of “Crashocasters.” Selected solo exhibitions of his work include: Crash, The Art of the Line, Speerstra Gallery, Bursins, Switzerland, and Crash, Williams Art Gallery, Lafayette College, Easton, PA (2008); Crash, Galerie Onega, Paris (2007); Crash, Lehmann Leskiw Fine Art, Toronto (2006); Second Skin, Wooster Projects, New York (2005); and Graffiti Indoors, AZ/NY Contemporary, Scottsdale, AZ (2000). Selected group exhibitions include: New Works by John “CRASH” Matos and Aaron Sharp Goodstone, Galerie Onega, Paris (2008); Collision I & II (with Jahan), Jendela Visual Arts Space and the Esplanade Concourse, Singapore (2006); Barrios, Hostos Community College/CUNY, Bronx, NY (2002); and Foundation of a Century, Nassau County Museum of Art, Long Island, NY (2000).
Joshua Liner established Joshua Liner Gallery in New York City’s Chelsea district in 2008. Building on the success of his former, Philadelphia-based Lineage Gallery, Joshua Liner’s Chelsea space introduces an exciting roster of young and emerging artists from the West and East coasts, Asia, and Europe.
Also on view, in Gallery I: Oliver Vernon, Unexpected Occurrences, January 17–February 21, 2009.
Joshua Liner Gallery
Joshua Liner Gallery is pleased to present Unexpected Occurrences, an exhibition of new paintings by the Brooklyn-based artist Oliver Vernon. This is Vernon’s first solo show in the gallery’s Chelsea location.
Created with acrylic and ink on paper, canvas, and wood, Vernon’s series of small-, medium-, and large-format w......orks depicts his own highly idiosyncratic “Big Bang” theory. In the artist’s colorful vision of the cosmos, nature and culture collide (or cooperate) in the creation (or destruction) of the universe. Any questions of origin or outcome are overpowered by the sheer dynamism of Vernon’s images: a balletic interplay of protoplasm, cultural signs, body forms, geometric abstraction, and bravura brushwork.
In Sumi Gouache III, a progression of delicate aqueous blotches evolves into a solid network of bone shapes and contemporary graphic-design elements. In Pivotal Hotspot, these decorative elements are a soothing, ordered backdrop for the chaotic clash of wave forms—water, fire, lava, smoke, ice—embattled in diagonal swathes across the painting’s surface. Cross Fire III, a long, scroll-like work, depicts a smoky miasma of protoplasm and planets. Contained within space-age purple spirals, this dark mass bubbles against a background collage of architectural designs, snippets of printed Hebrew text, foreign money, and wallpaper designs.
Vernon’s quirky combinations of organic, mechanical, cosmological, and cultural elements teem with lively intelligence. Their intuitive grasp of the relationship between energy and matter, thought and action, also references wide segments of cultural production, including Native American art forms, contemporary Japanese graphic design, 20th century Surrealism, and New York School abstract painting. Vernon’s “cosmos” creates a fluid atmosphere where cultural material moves in and out of focus, amid other earthier dynamics. This metaphorical expanse also allows the artist to explore the “deconstruction and reconstruction of visual space.” According to Vernon, “Each painting has its own set of rules, or rather, the rules are being bent, broken, and ultimately formed within each painting. Color, form, energy, architecture, good, evil, flesh, and machine are lurking, never as physical entities but as transient archetypes searching out their final places within the framework of the cosmos.”
A native New Yorker, Oliver Vernon received his BFA from Parsons School of Design in 1995 and currently lives and works in Brooklyn. Solo exhibitions of his work include: Macro/Micro, Irvine Contemporary Gallery, Washington DC, and Oliver Vernon, Microcosm Gallery, New York (2007); Infinity Within, Lineage Gallery, Philadelphia (2006); Live Paintings Remixed, Jan Larsen Fine Art, Brooklyn (2005); and Far, Spector Gallery, Philadelphia (2004). Selected group exhibitions include: Aspect: Ratio, Small-Format Paintings, Irvine Contemporary Gallery, Washington DC (2009); Mapmakers, Meta Gallery, Toronto, and Groundwork II, Foundation One Gallery, Decatur, GA (2008); Claimin Space—Context and Urban Art, BLVD Gallery, Seattle (2007); Square Foot, Thinkspace, Los Angeles, and Mescalito, White Walls Gallery, San Francisco (2006); Convergence, The Showroom, New York, and Minds Wide Open, Light Space Gallery, Venice, CA (2005).
Joshua Liner established Joshua Liner Gallery in New York City’s Chelsea district in 2008. Building on the success of his former, Philadelphia-based Lineage Gallery, Joshua Liner’s Chelsea space introduces an exciting roster of young and emerging artists from the West and East coasts, Asia, and Europe.
Also on view, in Gallery II: Crash (John Matos), Unfinished Business, January 17–February 21, 2009.
Joshua Liner Gallery
Tomokazu Matsuyama
Glancing at the Twin Peak
March 6–April 4, 2009
Opening reception, Galleries I & II: Friday, March 6, 6–9 PM
New York, NY February 10, 2009 -- Joshua Liner Gallery is pleased to present Glancing at the Twin Peak, an exhibition of new paintings, sculpture and installation by the New York-based Japanese ar......tist Tomokazu Matsuyama. This is the artist’s first solo exhibition at the gallery.
Working in acrylic on canvas or paper, Tomokazu Matsuyama creates paintings that embrace his cultural roots with a distinctive contemporary playfulness. Influenced by both the austerity of postwar contemporary art and the unbridled extravagance of Japanese and American popular culture, Matsuyama challenges conventional ideas about cultural homogeneity, contradicting notions of “Japaneseness.”
With Glancing at the Twin Peak, the artist makes reference to two titans of Japanese and American culture, respectively—Sanraku Kano and Frederic Remington. A master of the influential Kano school of painting in the late sixteenth century, Kano depicted riders on horseback in iconic images of masculinity that typified the era. Likewise, Remington, celebrated for his hypermasculine paintings of “cowboys and Indians,” spoke for a young nation coming of age at the end of the nineteenth century.
As the stunning centerpiece of the exhibition, Matsuyama’s 7-x-15-foot mixed-media painting Runnin’ Deep synthesizes these two strains of nationalist identity into a vibrant contemporary amalgam. Riding across a snowy terrain, the artist’s “cowboys” are distinctly Japanese in appearance, while their steeds bear the artist’s colorful, stylized approach to animal forms. Similarly, Matsuyama transforms Remington’s signature bronze, The Bronco Buster, into his own stylized likeness. His two-meter-tall fiberglass sculpture, Wherever I am, depicts a bucking horse reined in by a Playmobil-style toy figure with Asian features.
Born in Japan and later immigrating to the United States, Matsuyama’s bicultural upbringing figures prominently in his style and subject matter. The mythical, shape-shifting Kirin appears often; the creature is updated with a bouncy, kaleidoscopic abstractness, creating a pictorial dimension where ancient tales and contemporary visual design can intermingle. Appropriating from Western modern art history, as well as Japanese art from the Edo and Meiji eras, the artist mixes traditional icons and imagery onto a broader international canvas, including elements of Superflat, digital design, contemporary collage, and other current trends and practices.The intention, says Matsuyama, is “to blend what are considered Eastern and Western aesthetics into one that resists categorization and cultural belonging. My work is equally pending between worlds that are not completely blended but instead still a patchwork of controlled chaos trying to evolve into something close to cosmopolitanism.”
Tomokazu Matsuyama was born 1976 in Tokyo, Japan, and currently lives and works in New York City. He received an MFA in Communications Design from Pratt Institute in Brooklyn. Solo exhibitions include: Polarize, FIFTY24SF Gallery, San Francisco (2007); Between the Polar, Takuro Someya Contemporary Art,Chiba, Japan (2007); among others. Selected group exhibitions include: What’s so Funny About Peace, Love and Understanding?, Esso Gallery, New York (2008); Piece of Peace, Parco Gallery, Tokyo (2008); Living Lines, J Flynn Gallery, Costa Mesa,CA (2007). Matsuyama’s first monograph, Found Modern Library,was published in 2007 by Gingko Press. His second monograph published by Panorama in Japan will release later this year.
Joshua Liner established Joshua Liner Gallery in New York City’s Chelsea district in 2008. Building on the success of his former, Philadelphia-based Lineage Gallery, Joshua Liner’s Chelsea space introduces an exciting roster of young and emerging artists from theWest and East coasts,Asia, and Europe.
For more information, please visit www.joshualinergallery.com, or contact Tim Strazza at 212.244.7415 or tim@joshualinergallery.com.
Solo Exhibition in Galleries I and II
時間：2009年3月6日 18:00
地點：Joshua Liner Gallery
Joshua Liner Gallery
Crash (John Matos) Unfinished Business January 17–February 21, 2009 Opening reception, Gallery II: Saturday, January 17, 6–9 PM
Joshua Liner Gallery is pleased to present Unfinished Business, an exhibition of paintings on canvas and paper by the Bronx-born artist known as Crash (John Matos). This is Crash’s first solo ......show with the gallery.
Including new paintings and selected works from the 1990s, the exhibition highlights the unique place Crash holds in the development of late 20th century visual culture. Some twenty years after Roy Lichtenstein first brought comic books into the fine art discourse, Crash did as much for American graffiti, incorporating his signature tags and style into large, spray-painted canvases. Once transposed, this street language identifying cultural groups and delineating urban territory assumed new meanings and relevance, appraised finally for its formal inventiveness.
In more recent works, Crash excerpts mere details from his wider language of linguistic signs, graphic forms, and rainbow-hued embellishments. Rendered as pure abstraction, these edited bands are placed in contrast with details from the human body, eyes in particular. Sandwiched between wildly colored bands of graffiti-styled marks, these glistening eyes both accentuate and subvert the seductiveness of Crash’s self-styled visual language. Commercialism is at once embraced and repelled. Much like the Pop artists Lichtenstein and Tom Wesselmann before him, Crash identifies the graphic arts of his own era as both a communicator and container for human desires—with a measure of the street artist’s ambivalence intact.
John Matos (aka Crash), born in 1961 in the Bronx, began his career at 13 and quickly gained recognition for his murals on subway cars and dilapidated buildings. Working under the name “Crash One,” he is regarded as a pioneer of the graffiti art movement. Matos later transferred his art from the street to canvases and has exhibited in museums worldwide. Additionally, the artist has created signature Stratocaster guitars for musician Eric Clapton and was commissioned by Fender Musical Instruments for a series of “Crashocasters.” Selected solo exhibitions of his work include: Crash, The Art of the Line, Speerstra Gallery, Bursins, Switzerland, and Crash, Williams Art Gallery, Lafayette College, Easton, PA (2008); Crash, Galerie Onega, Paris (2007); Crash, Lehmann Leskiw Fine Art, Toronto (2006); Second Skin, Wooster Projects, New York (2005); and Graffiti Indoors, AZ/NY Contemporary, Scottsdale, AZ (2000). Selected group exhibitions include: New Works by John “CRASH” Matos and Aaron Sharp Goodstone, Galerie Onega, Paris (2008); Collision I & II (with Jahan), Jendela Visual Arts Space and the Esplanade Concourse, Singapore (2006); Barrios, Hostos Community College/CUNY, Bronx, NY (2002); and Foundation of a Century, Nassau County Museum of Art, Long Island, NY (2000).
Oliver Vernon Unexpected Occurrences January 17–February 21, 2009 Opening reception, Gallery I: Saturday, January 17, 6–9 PM
Joshua Liner Gallery is pleased to present Unexpected Occurrences, an exhibition of new paintings by the Brooklyn-based artist Oliver Vernon. This is Vernon’s first solo show in the gallery’s Chelsea location.
Created with acrylic and ink on paper, canvas, and wood, Vernon’s series of small-, medium-, and large-format works depicts his own highly idiosyncratic “Big Bang” theory. In the artist’s colorful vision of the cosmos, nature and culture collide (or cooperate) in the creation (or destruction) of the universe. Any questions of origin or outcome are overpowered by the sheer dynamism of Vernon’s images: a balletic interplay of protoplasm, cultural signs, body forms, geometric abstraction, and bravura brushwork.
In Sumi Gouache III, a progression of delicate aqueous blotches evolves into a solid network of bone shapes and contemporary graphic-design elements. In Pivotal Hotspot, these decorative elements are a soothing, ordered backdrop for the chaotic clash of wave forms—water, fire, lava, smoke, ice—embattled in diagonal swathes across the painting’s surface. Cross Fire III, a long, scroll-like work, depicts a smoky miasma of protoplasm and planets. Contained within space-age purple spirals, this dark mass bubbles against a background collage of architectural designs, snippets of printed Hebrew text, foreign money, and wallpaper designs.
Vernon’s quirky combinations of organic, mechanical, cosmological, and cultural elements teem with lively intelligence. Their intuitive grasp of the relationship between energy and matter, thought and action, also references wide segments of cultural production, including Native American art forms, contemporary Japanese graphic design, 20th century Surrealism, and New York School abstract painting. Vernon’s “cosmos” creates a fluid atmosphere where cultural material moves in and out of focus, amid other earthier dynamics. This metaphorical expanse also allows the artist to explore the “deconstruction and reconstruction of visual space.” According to Vernon, “Each painting has its own set of rules, or rather, the rules are being bent, broken, and ultimately formed within each painting. Color, form, energy, architecture, good, evil, flesh, and machine are lurking, never as physical entities but as transient archetypes searching out their final places within the framework of the cosmos.”
A native New Yorker, Oliver Vernon received his BFA from Parsons School of Design in 1995 and currently lives and works in Brooklyn. Solo exhibitions of his work include: Macro/Micro, Irvine Contemporary Gallery, Washington DC, and Oliver Vernon, Microcosm Gallery, New York (2007); Infinity Within, Lineage Gallery, Philadelphia (2006); Live Paintings Remixed, Jan Larsen Fine Art, Brooklyn (2005); and Far, Spector Gallery, Philadelphia (2004). Selected group exhibitions include: Aspect: Ratio, Small-Format Paintings, Irvine Contemporary Gallery, Washington DC (2009); Mapmakers, Meta Gallery, Toronto, and Groundwork II, Foundation One Gallery, Decatur, GA (2008); Claimin Space—Context and Urban Art, BLVD Gallery, Seattle (2007); Square Foot, Thinkspace, Los Angeles, and Mescalito, White Walls Gallery, San Francisco (2006); Convergence, The Showroom, New York, and Minds Wide Open, Light Space Gallery, Venice, CA (2005).
Opening Reception January 17, 6:00 pm - 9:00 pm
時間：2009年1月17日 18:00
地點：Joshua Liner Gallery
Joshua Liner Gallery
Kris Kuksi
"Imminent Utopia"
November 22–December 20, 2008
Opening reception, Gallery I: Saturday, November 22, 6–9 PM
Joshua Liner Gallery is pleased to present Imminent Utopia, an exhibition of new mixed-media sculptural works by the Kansas-based artist Kris Kuksi.
Constructed from pop-culture effluvia—such as model kits......, injection-molded toy soldiers and animals, plastic skulls, knick-knack figurines, and mechanical parts—these intricate assemblages combine mass-produced “junk” into rococo tableaux. At once grand and grotesque, these friezelike works register from a distance as architectural ornamentation from the Belle Époque. Up close, the agglomerations of macabre parts take on a Bosch-style chaos, with skulls, skeletons, and other gnarled forms compressed into a dark tangle.
The visual tension between ornate beauty and horrific excess has broad resonance for Kuksi, who strives to merge a nostalgia for “old world” aesthetics and a distaste for contemporary culture into his art. Greek gods mingle with monsters amid a miniature landscape of scaffolding, train tracks, refineries, and plumbing, all resembling decorative bric-a-brac in their combined, tiny form.
This strategy of combination and baroque display is the gesture that transforms the artist’s assemblages into elegant, even lyrical presentations. Among the twelve works on display, the centerpiece of the show is a 6-x-11-foot, wall-mounted sculpture entitled Imminent Utopia. This “Gesamtkunstwerk” depicts a two-sided universe, world and underworld, each balancing the other in a mirrored relationship of sculptural forms, the upper half crowned by a cathedrallike structure. Close in, one sees a plastic landscape populated by classical statuary, wooly mammoths, and construction cranes. It’s a universe of the mind, the existential toolbox from which civilizations both rise and collapse.
Pat Rocha
"Departure"
November 22–December 20, 2008
Opening reception, Gallery II: Saturday, November 22, 6–9 PM
Joshua Liner Gallery is pleased to present Departure, an exhibition of new paintings by the Missouri-based artist Pat Rocha. Departure is Rocha’s debut solo exhibition in New York.
Across this series of twelve oil-on-canvas paintings, Rocha presents a realist vision of Midwestern rural and small-town life, yet one tinged with nostalgia, spiritualism, ghosts, and the skewed perspective of childhood. His richly scumbled oils collapse multiple time frames into a single lush image, often expressing a wistful humor. Rocha uses a trompe l’oeil technique of blurred backgrounds and fine-edged, foregrounded figures to suggest a “cut and paste” reality. The picture plane is a surface on which to manipulate memory and desire—Rocha’s painterly form of wish fulfillment.
"Departure," the painting that gives the show its title, depicts three figures from successive generations, each distinguished by the era of their clothing. Though gathered in the same forest locale, each figure appears to exist in a different dimension—the old man sharp and clearly lit, the young woman transparent and barely there, the older woman in sepia, like an old photograph. These shifting styles of representation overlay Rocha’s visual narratives with mystery and embody the artist’s interest in nostalgia, the supernatural, and the surreal.
Other works depict a range of Midwestern experience, from a typical 1950s den in "Jet Set" to the hardscrabble, prairie existence of Kansas Death Trip. In all, Rocha draws on vivid childhood memories, including haunted houses, devastating tornadoes, and growing up with ten siblings, most of whom practice artmaking in some form.
As the artist notes, “My interest in human nature and the drama of living compels me to paint. Sometimes when I’m looking at an old photograph, I’ll stare at the person in the photo and imagine myself in the same room. It’s impossible for me to paint a portrait without having a story to tell behind it. When the story hits me, I’ll look for additional pictures to accommodate the central theme. Then the painting begins to take on a life of its own.”
Opening Reception November 22, 2008 6-9PM
時間：2008年11月22日 18:00
地點：Joshua Liner Gallery
Joshua Liner Gallery
Damon Soule
"Amused Loon"
October 11– November 15, 2008
Opening reception, Gallery I: Saturday, October 11, 6–9 PM
New York, NY September 24, 2008 - Joshua Liner Gallery is pleased to present Amused Loon, an exhibition of new paintings by the Portland, Oregon-based artist Damon Soule.
In more than twenty-five small to...... medium-sized works on wood and on paper, Soule depicts details from fantastic realms or geometrically abstract environments. Like screen “grabs” from a video game, these small views into otherworldly spaces explode with pattern, virtuosic manipulations of perspective, and lively colors. The carefully cropped details hint at larger dimensions and drama beyond the picture plane, heightening the feeling of optical tension. They also suggest a parallel with “virtual space” and the collective sensation in the Internet Age of worlds just beyond our fingertips.
References from Buckminster Fuller to Bridget Riley to Julie Mehretu inform Soule’s deft evocation of geometric space, where causeways of built-up pattern course through fantastic atmospheres of spattering fluids, blocky bric-a-brac, and graceful ribbon filigrees. Often resolving around a central image of an explosion or implosion, these essentially abstract works are a kitschy homage to design and pattern forebears as well as celebrations of today’s obsession with industrial and digital design and urban street art. As leitmotif, the explosion central to most of Soule’s work is a winking jab at contemporary culture’s seeming need for a violent payoff. An “amused loon” (anagram of the artist’s name), Soule both shares and critiques the trend.
Originally from New Orleans, Damon Soule studied at the San Francisco Art Institute and currently lives and works in Portland, Oregon. He cofounded FIT skateboards and Civilian Clothing in 1996, both early platforms for his art. Lacksadayscycle, a solo exhibition of his work, appeared at Lineage Gallery in Philadelphia in 2007. Since 2000, Soule’s paintings and drawings have been featured in group exhibitions in San Francisco at 111 Minna Gallery, White Walls, Punch Gallery, Southern Exposure Gallery, Rizzoli Gallery, Culture Cache, New Langton Arts (I Dart SF, 2003) and Yerba Buena Center for the Arts (Outside Art, 2002). Recent shows also include New Works by Oliver Vernon and Damon Soule at BLVD Gallery, Seattle (2007); Green Art Exhibition at Robert Berman Gallery, Santa Monica (2007); and Stories From the Wonderland at Dorothy Circus Gallery, Rome, Italy (2008).
Chris Mendoza
"Daily Habits"
October 11– November 15, 2008
Opening reception, Gallery II: Saturday, October 11, 6–9 PM
New York, NY September 24, 2008 - Joshua Liner Gallery is pleased to present Daily Habits, an exhibition of new work by the Nicaraguan-born, New York-based artist Chris Mendoza.
Comprised of twenty ink-on-handmade paper and carving-on-Masonite works, Daily Habits showcases Mendoza’s signature drawing practice, which builds up intricate images from fine mark-making. Evocative of both Mesoamerican hieroglyphs and Middle-Eastern calligraphy, Mendoza’s compositions have two registers—from a distance, they appear as delicate, lace-like landscapes; up close, they are an astonishing tangle of doodled shapes that resemble medical instruments, precision parts, space ships, radio towers, futuristic automobiles, and other assorted odds and ends of machined technology.
Calling to mind the abstract works of Miro and Kandinsky, the Chilean modernist Matta, and architect Frank Lloyd Wright, Mendoza has developed a distinctive language of spiky, angular symbols that blend the natural and mystical folklore of his childhood with the density and chaos of urban life. This visual interplay of the ancient and contemporary is grounded in descriptive line work that creates a sense of movement and energy. The multitudinous elements are gracefully integrated into horizon- or orb-like compositions, emphasizing the distinct qualities of mark-making in dramatic relation to the
unblemished surfaces of paper and panel. According to the artist, a visual manifestation of the sonic combinations found in early hip-hop mix tapes and performances emanate from his surfaces.
As a boy, Chris Mendoza settled in New York City in the Bronx with his family in the 1980s. He learned architectural draftsmanship from his father at an early age, which combined with the influences of subway graffiti replete throughout the city at that time. He is a member of the Barnstormers collective of New York- and Tokyo-based artists, including Swoon, David Ellis, and fellow-Joshua Liner Gallery artist Kenji Hirata. Mendoza’s work has been featured in exhibitions at Museo de Arte, San Juan, Puerto Rico; White Box Gallery, New York; Southeastern Center for Contemporary Art, Winston-Salem, North Carolina; Transport Gallery, Los Angeles; and Dyezu-Exp Gallery, Tokyo.
Opening Reception October 11, 2008 6-9PM
時間：2008年10月11日 18:00
地點：Joshua Liner Gallery
