Larry Pearsall is a Los Angeles-based artist who has created an extensive, focused body of work at ECF’s downtown studio for over a decade. Pearsall's paintings have a masterful quality, which can be difficult to access only because of their strangeness and ambiguity; the more his epic narrative is given weight or trusted, the more unsettling it becomes...Read More
Storytellers is a selection of works by artists who reimagine and reinvent the essential practice of telling stories through visual art. Each work represents aspects of a complex personal narrative, glimpses into alternate realities created with diverse materials and processes...Read More
Dale Jackson at White Columns presents a significant selection from the Cincinnati-based artist’s extensive body of work for his first New York exhibition. Brimming with a disarming sincerity and candor, Jackson’s imaginative missives are a breath of fresh air...Read More
Susan Te Kahurangi King’s current exhibition marks her second, highly anticipated solo show at Andrew Edlin, following the critically acclaimed debut of the New Zealand-based artist with the space in 2014, Drawings from Many Worlds. Known for her vibrant and frenetic biomorphic abstractions, Drawings 1975 - 1989 curated by Chris Byrne and Robert Heald features a lesser known series from her prolific and consistently impressive practice...Read More
The Eloquent Place is a powerful exhibition featuring intimate works on paper by Harald Stoffers and Josef Hofer, currently on view at Cavin-Morris in NYC. In a compelling pairing of these artists Cavin-Morris proposes:
Both artists seek to establish a sense of internal and external Place by creating worlds that unfold within and around their own bodies. The act of drawing is a method of controlling survival; in Hofer's case figuratively, and in Stoffers’ case by emotionally charging the written words with visual intensity. For both the art becomes a conduit toward a way of balance and self-placement in the world.
The dialogue between the two bodies of work results in a rich commingling of concepts and earnest explorations of representation versus abstraction through drawing. The opposition of systematic processes with highly personal subject matter reveals a strong connection between the work of Stoffers and Hofer, while exposing a candid vulnerability.
Josef Hofer’s partially clothed and fully nude figures originated as self-portraits drawn from memory of his reflection in a small mirror (with a substantial, ornate wooden frame) placed on his bedroom floor. The priority of his images resides in the recollection and expression of sections of the body, connections of limbs and folding flesh - not reflecting a moment in time or visual representation of the figure, but rather a narrative of observation. He captures a series of moments spent noticing the body, which is then recalled as drawing. Abstract of the obfuscating influence of rendering, likeness, or proportions, Hofer’s marks are naked as they describe the truncated contours of the body he recalls.
An important element included in every portrait, is the frame around the perimeter of the drawing surface (always alternating in bands of orange and yellow colored pencil, outlined in robust graphite). Speculations surround the origin or purpose of this frame; it's generally understood as a depiction of the frame of Hofer’s mirror, although it’s included in every piece, not just the drawings featuring figures. Hofer doesn’t discuss or explain his work since he’s primarily non-verbal - ultimately the genesis and nature of this device remains unclear.
It is certain that, much like its presence in Martin Ramirez’s drawings, the frame is an integral element and not merely a decorative one; Hofer has included it consistently since 2003, though in various iterations. Created slowly and deliberately (as evidenced by the labored impressions of his blunt implement), the frame often becomes quite elaborate and is even more time intensive to develop than the current variation of figure within. Elisabeth Telsnig, who worked with Hofer (at the creative program he attends) in Ried, Austria from 1997 until recently, states, “He draws a figure again and again, looking for ‘the perfect figure’, ‘the perfect position’. Only, when he has the impression, he has found it, can he stop the series. He seems to like to to be under constraint.”
The drawing of the frames is formally opposite to that of the figures (using a straight edge) and bound by consistent rules across all of his works - always orthogonal (even when they evolve to deviate from the rectangle of the perimeter) and meeting at a diagonal, as a frame does.
It's important to notice the use of a straight edge by an artist whose figures are drawn in such a personal way, in which his hand is exposed. The use of a mechanical tool or process to contrast with (or justify) this exposed hand is almost universal throughout art history. From the explicit use of geometric and mathematical rules to restrict the influence of the artist’s voice in catholic iconography, to JMW Turner’s bits of architecture providing an armature for an ethereal expression of light and air, to Gerhard Richter’s squeegee obscuring his hand-painted marks. Chuck close’s grids, Gabriel Orozco’s checkered patterns, the frame itself, or the smooth white walls of a gallery space all strive to achieve the same end as a pencil guided along a straight edge - respite from the expressive responsibility of mark-making, submission to something sure, inert, and objective. In Hofer’s work these methodical choices build inward towards his figures, sometimes working their way around, completely enveloping them. The interactions of these opposing processes is a highly original visual and procedural poetry.
Harald Stoffers’ cascading rows of horizontal lines and text are hand-written letters, most often addressed to his mother. Deeply diligent and well-meaning, his notations describe in great detail ordinary daily events such as his choice of clothing, travel schedules, or activities, yet also embody a more romantic personal narrative and the endeavor of carefully poring over increasingly monumental letters that are rarely sent. This daily ritual of letter-writing has dominated his practice for over twenty years. They have increased in scale since Stoffers began working in the Hamburg studio at Galerie der Villa in 2001; previous to that he would freely give away very small notes to anyone around him.
Stoffers generously establishes a preliminary, wavering framework that mimics ruled paper, which is then loosely used as a guide for the placement of text. In a palette even more restricted than Hofer's, his erratic script primarily appears in black ink, with an occasional rogue excerpt in blue. Inconsistent in spacing behavior, the text expands, contracts, and sometimes much taller letters span several lines. Stoffers very often draws over every line repetitively, with some words receiving more emphasis than others; original text is often obscured by the subsequent layers of mark-making, ultimately rendering it illegible.
In Stoffers’ work, a similar contrast between the systematic and personal are engaged with in a different manner than Hofer’s corporeal vernacular. In his works, which resemble sheet music or unraveling textiles from a distance, the striations and the text itself provide his objective process, where his unsteady hand and his vision through language provide the contrasting expression. Where Hofer uses a system of structured marks to assert a rigid context for his figures, Stoffers appeals to a familiar methodology to assert himself dutifully, not inventing a system, but engaging in common, learned systems - penmanship, list making, and the organization of language.
The conversation between Stoffers and Hofer in The Eloquent Place compliments the dialogue between vision and process within each artist’s work. The association that relentless drawing, manipulating, or obscuring of text has to the content and intention of that text can be understood in terms of the relationship of Hofer’s systematic straight lines to his divulging recollections of the figure, and vice versa. The intellectual depth of these parallels isn’t in the specifics of their implications, but in the quiet emotional power of their coexistence in this installation. These bodies of work are typified by genuine intention, vulnerability, and a complete faith in the meaningful act of drawing to validate their messages through diligent labor as draftsmen.
Harald Stoffers and Josef Hofer will be on view at Cavin-Morris through October 8th.
San Francisco-based artist William Scott is a believer in a better society, a self-described “peacemaker” and “architect”. His works are the celebratory announcement of the wholesome future; they not only imagine an alternate universe reflecting his personal aspirations, but proclaim with joyous conviction his utopian vision of San Francisco, “Praise Frisco”. Scott’s paintings, drawings, and sculptures are executed in an aesthetic consistent with this gospel of idealism and excellence, shining with a pristine vibrance.
William Scott’s paintings of cityscapes and beaming figures surrounded by bold text are well known and widely collected; Mapping Fictions will also include lesser known works that delve into specific plans for Praise Frisco that demonstrate surprising depth and scope, beyond just a notion of that place. In these works, Scott strives to pull the world he sees into reality by imagining its common details. Optimistic plans for ordinary architecture, floor plans of “Disneywood” condos, and development company logos all express directly that this could actually exist with an earnestness reflected in a letter to the Mayor Gavin Newsom, calling for or announcing the news of Praise Frisco.
Scott’s work can be understood in the context of the intent and ideals of Theaster Gates or Bertrand Goldberg, who have employed the traditional agency of art-making to guide communities in inventing better versions of themselves.
Like Goldberg, Scott’s architectural drawings and models recall the spare, utilitarian designs for community housing as envisioned by the Bauhaus, an idealistic solution for social progression. Goldberg “was more than an architect - he was also a philosopher. In his utopian worldview, architecture had the power to create democratic communities by serving people from all levels of society while remaining sensitive to the needs of individuals. Architects were not just capable of bringing about a better future for everyone, they were morally obligated to do so.” (source)
Theaster Gates’ creative practice extends beyond his studio as social activism, urban planning, and the ethical redevelopment of distressed properties, which manifests as an immediate, tangible influence that Scott’s work does not. There proves to be commonality, however, in the ambition to activate change and critically engage the public through art. Both Scott and Gates are driven to preserve and resurrect values from the past and a sense of community that has been lost. Gates explains:
The reimagining is a means to an end, and sometimes it is its own end. There are wasted opportunities that are waiting to be beautiful again, and I'm giving them a charge. It's not so much that the buildings on Chicago's South and West sides are vacant, but that they started to lose value for the black community. These buildings had so much soul, but we imagined that, because of the violence and the schools, we should be somewhere else. So these buildings lost their soulfulness. I'm interested in showing there is still so much latent power in these buildings, and by simply making these spaces available again, and open again, great things can happen. (source)
Whether an intentional fiction, genuine aspiration, or prophecy, Scott’s elaborate narrative is a creative vehicle for social commentary, as well as a context for an impassioned and highly personal expression of his commitment to recurring concepts of humanity, spirituality, identity, and community.
William Scott’s work is included in the upcoming exhibition Mapping Fictions, curated by Disparate Minds founders Tim Ortiz and Andreana Donahue, July 9 - August 27 at The Good Luck Gallery in LA. Scott (b. 1964) maintains a studio practice at Creative Growth in Oakland, California. Scott is widely collected and has work in the permanent collections of the MOMA and The Studio Museum in Harlem. He has exhibited previously in solo exhibitions at White Columns and group exhibitions at Park Life Gallery (San Francisco), Gavin Brown’s Enterprise and the Outsider Art Fair (NYC), Hayward Gallery (London), Yerba Buena Center for the Arts (San Francisco), the Armory Show (NYC), Palais de Tokyo (Paris), and NADA (Art Basel, Miami).
Daniel Green's process is slow and intimate; quietly hunched over his works in the bustling studio, he draws and writes at a measured pace. These detailed works are an uninhibited visual index of Green’s hand; when read carefully, they become jarring and curious, slowly leading the viewer to meaning amid the initial incoherence. Green’s text is poetic and complex - language and thought translated densely from memory in ink, sharpie, and colored pencil on robust panels of wood. Figures and their embellishments are drawn without a hierarchy in terms of space occupied on the surface; they are at times elaborate and at other times profoundly simple. The iconic figures’ facial expressions (Jesus, Abraham Lincoln, Tina Turner, video game characters, etc.) are generally flat with proportions stretching and distorting subject to Green’s intention.
Ultimately, these drawings compel the viewer to internalize and decipher Green’s ongoing, non-linear narrative. His drawings call to mind Deb Sokolow’s humorous, text-driven work, but are less diagrammatic and concerned with the viewer. In an interview with Bad at Sports’ Richard Holland, Sokolow elaborates on her process:
I’ve been reading Thomas Pynchon and Joseph Heller lately and thinking about how in their narratives, certain characters and organizations and locations are continuously mentioned in at least the full first half of the book (in Pynchon’s case, it’s hundreds of pages) without there being a full understanding or context given to these elements until much later in the story. And by that later point, everything seems to fall into place and with a feeling of epic-ness. It’s like that television drama everyone you know has watched, and they tell you snippets about it but you don’t really understand what it is they’re talking about, but by the time you finally watch it, everything about it feels familiar but also epic. (Bad At Sports)
Much like Sokolow, Green engages in making work that begins with the rigorous practice of archiving information culled from his surroundings and interests, which then develops into intriguing, fictitious digressions. Dates and times, tv schedules, athletes, historical figures, and various pop culture references flow through networks of association - “KURT RUSSEL GRAHAM RUSSEL RUSSEL CROWE RUSSEL HITCHCOCK AIR SUPPLY ALL OUT OF LOVE…” Although the listing within his work sometimes gives the impression of being intuitive streams of consciousness, most of it proves to be very structured and complex within Green’s system. Rather than expression or even communication, the priority seems to be the collection of information or organization of ideas; the physical encoding of incorporeal information as marks on a surface is a method for making it tangible, possessable, and manageable.
From the perspective that Green invents, there’s an endless number of time sequences that haven’t been considered before. A grid of days and times (as in Pure Russia) imagines time passing in increments of one day and several minutes, then returns to the beginning of the series, stepping forward one hour, and proceeding again just as before. It could be cryptic if you choose to imagine these times having a relationship to one another, or it could instead be an original rhythm whose tempo spans days, so that it can only be understood conceptually as an ordered structure mapped through time - the significance of the pattern superseding that of specific moments.
By blurring the distinction between the articulation of ideas through text and the development of mark-making, Green’s highly original objects become unexpectedly minimal and material, yet simultaneously personal and expressive.
Daniel Green’s work will be included in Mapping Fictions, an upcoming group exhibition opening July 9th at The Good Luck Gallery in LA, curated by Disparate Minds writers Andreana Donahue and Tim Ortiz. Green has exhibited previously in Days of Our Lives at Creativity Explored (2015), Create, a traveling exhibition curated by Lawrence Rinder and Matthew Higgs that originated at University of California Berkeley Art Museum and Pacific Film Archive (2013), Exhibition #4 at The Museum of Everything in London (2011), This Will Never Work at Southern Exposure in San Francisco, and Faces at Jack Fischer Gallery in San Francisco.
The process of evaluating any artwork includes some interpretation of how it functions - mechanisms such as the way gestural brushstrokes communicate movement by indexing the physical action of their application, or the way that arrangements of representational imagery can imply relationships between elements that generate narrative.
The mechanism by which Billy White’s paintings elicit emotion is sharply specific, yet escapes analysis, remaining a wonderful mystery. A loose, fearless application of paint renders forms with a striking physicality and sense of humor. There’s an uncanny affinity with the work of figurative painters Todd Bienvenu and Katherine Bradford (who both have an aesthetic undoubtedly informed by the work of self-taught artists). The impact of White’s work cuts through a vivid alternate world that operates on White’s terms - a highly original set of priorities, passing over image and rendering to achieve an expression of mood and vitality, as though excavating the underlying stories that were already present; impatient mark-making and barely legible imagery find time and space for redolent storytelling and detail. While he typically focuses on painting and drawing, White occasionally creates small ceramic sculptures that are rich in character and evocative of Allison Schulnik’s warped clay figures - slumped postures, elongated, rubbery appendages, intermingling glazes, and sunken, cartoonish expressions.
White’s work is largely influenced by his avid interest in pop culture, often depicting actual and imagined events in the lives of various celebrities or fictional characters, from Dr Dre to Hulk Hogan to Superman. NIAD provides some insight into White’s process: “He might start off painting Bill Cosby, but quickly change his mind by lunch. When that happens, he simply works right on top and doesn’t erase what came before. The new work becomes an extension of the old. By the end of the day this could happen several times and what’s often left is a latticework of figures and stories with interchangeable meanings.”
Billy White (b. 1962) has exhibited previously in Rollergate at the Seattle Art Fair, Telling It Slant organized by Courtney Eldridge at the Richmond Art Center, Undercover Geniuses organized by Jan Moore at the Petaluma Art Center, ArtPad San Francisco at the Phoenix Hotel, and extensively at NIAD Art Center, where he has maintained a studio practice since 1994. He has an upcoming solo exhibition at San Francisco’s Jack Fischer Gallery later this year.
Mary Ann refers to all of her works as her “creations”. Like a story teller, she’s inspired by a combination of personal experiences in her daily life and concepts that she values, such as motherhood and heaven. Consequently, her works have a narrative feel - depictions of people and places that may be part of a story.
Mary Ann’s process, however, is not guided by narrative, but rather by an ambition to create. As a result of this, her subjects aren’t rendered as two-dimensional images, but intended to exist in their own right, in a two-dimensional world. In effect, her imaginative nature inevitably imbues the world she creates with a narrative life, but this distinction in her creative practice is important. Because she's creating rather than depicting, a figure, for example, is drawn in its entirety before clothing is drawn onto it - often a layer of flesh tones is painted before a subsequent layer of paint is added for the color of their clothing. If she includes shoes or gloves for a figure, she draws them around the foot or around the hand, rather than over it. Figures standing in front of a train are placed below the train, rather than in front of it, because both the train and people are created separately. Mary Ann has a highly original way of translating her perception of reference images onto paper, often distorting the scale of objects and editing out details that don’t fit her vision.
In the world she creates, scale is an expressive choice; each form is given whatever space it needs to exist and relate to the world it occupies. Ultimately in her work, she creates people and things to stage a still, timeless moment that’s simple, complete, and good.
Mary Ann James maintains a studio practice at The Canvas, a progressive art studio in Juneau, Alaska.