Rupert Shrive | Something to Declare
November 07 — December 20, 2008Galerie Orel Art
40 rue Quincampoix, Paris
Rupert Shrive. We have all the time in the world, 2008, acrylic and varnish on kraft paper, ostrich egg, 22 x 23 x 16 cm.
Presenting a series of 20 recent works, based primarily on his technique of creation and destruction, here Rupert Shrive explores the third part of the cycle: the renaissance. If the theme of the resurrection is at the core of his work, the new pieces, like the chrysalises represented, discover their independence and with it a new identity.
By combining unexpected materials like eggs and nautilus shells, with compacted portraits reverse -painted on transparent acrylic (a complicated process of recording the final details first), as well as his heavily varnished, screwed up paintings on kraft paper; Shrive deploys an unusual formal lexicon in destroying his own work, a kind of 'post-painting', as a dramatic metaphor for the quandaries and uncertainties besetting the act of creation itself.
The paintings are crumpled and ripped, the art dangerously manipulated in a high-risk search for a fresh and vital visual language, a reinvention of the tradition of figurative painting. By subjecting his work to this destructive process, Shrive challenges comfortable notions of the value of art and the vanity of artists. Turning his paintings from bi-dimensional to tri-dimensional media, he effects an alchemy, converting painting into sculpture.
Shrive's work mirrors Cubism to some extent in breaking down a single viewpoint into different perspectives as opposed to bringing different viewpoints together as one, accentuated all the more by his use of broken shells revealing the struggling image as it ecloses from the chrysalis, presenting metamorphosis as a simile for the conception and realisation of an idea.
Shown here for the first time, Shrive reveals in these most recent works; the paradoxes and developments of his unique procedure. -Orel Gallery
http://www.orelart.com/
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NEW YORK
Elizabeth Neel | Make No Bones
November 06 — December 06, 2008Dietch Projects
76 Grand Street, New York
Elizabeth Neel, The Losers, Oil on Canvas, 75 x 82 inches
"When I was three years old, a fox raided the chicken coop on my parent’s farm. The site of the massacre was strewn with evidence of its swift violence. One particular bird had only been partially consumed – almost perfectly bisected in such a way that it’s entire reproductive system was revealed. I could see a series of stages beginning with a yolk and ending with a perfect, shelled egg within that body – fixed at the moment of death in pristine order. This visual experience represented a turning point in my relationship to the world. I now see it as my first clear instantiation that life, and nature underneath it, is a baroque, mysterious thing that hangs precariously on a framework of elegant reason." - Elizabeth Neel
http://www.deitch.com/
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NEW YORK
Ari Marcopoulis | Fear God
November 06 — December 19, 2008 The Project
37 W 57th Street, 3rd Floor, New York
Ari Marcopoulos, Left Coast, 2008, Photocopied photograph, 53 × 36 inches.
Selected from Ari Marcopoulos' vast and continuously expanding body of work, these images demonstrate how markings on the body—scars, bruises, and tattoos—often have broader significance as encoded signs of social affiliation and status within insular communities. Similarly, graffiti in the urban landscape functions as a distinctly expressive residue of life which adorns otherwise banal architectural environments in an attempt to articulate public dissent from the status quo. Fear God not only reveals Marcopoulos' continued interest in documenting underground youth and street cultures, but also his perceptiveness in photographing them—originally seen in his early photographs of burgeoning hip hop and skateboarding scenes. -The Project
http://www.elproyecto.com/
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TOKYO
I LOVE ART
Open on 10/13, 11/3, 11/24, 12/12 (2008)Watari-um
3-7-6 Jingumae, Shibuya-ku, Tokyo
Andy Warhol, America.
This is an exhibition of 108 works focusing mostly on previously unexhibited pieces, such as a 1988 work by Julian Schnabel (America, 1951-), who has in recent years won much attention for his work as a film director, drawings by John Cage (America, 1912-1992), and works by leading Japanese contemporary copperplate printmaking artist Tetsuro Komai (Japan, 1920-1976). Keith Haring's wall murals, which have covered signboards for more than 10 years now, will also be on display.
In addition to these works, encounters with the artists will share with visitors the creative process and various hitherto unknown anecdotes behind the art - the "collection stories". -Tokyo Art Beat
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