Fan Mail

Fan Mail: Richard Stone

Richard Stone creates paintings, sculptures, and installations that form constellations of meaning. While the works are all distinct—for example, a series of bronze figurines half-covered in smooth, bulbous wax, or a carved white marble flag that ripples in an unseen wind—when exhibited together, they form a cohesive yet mysterious network.

Richard Stone. After,2011; antique oil on board, surface partly removed, whitewashed, lime wood molding, water white miroguard AR glazing; 20 x 16 centimeters. Courtesy of the artist.

Richard Stone. After, 2011; antique oil on board, surface partly removed, whitewashed, lime wood molding, water white miroguard AR glazing; 20 x 16 cm. Courtesy of the Artist.

Stone is chiefly concerned with art and cultural history. He explores the past through the processes of additive and subtractive layering, which become manifest in his constructed constellations. His work poses many questions: What does it mean to strip a flag of its identifying features? To sand down and whitewash a once-finished painting? Or to wax-coat the upper body of a small bronze figure? But the most central question is: How do these objects engage one another and their context in a gallery space?

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From the Archives

From the Archives – Taner Ceylan: Lost Paintings at Paul Kasmin Gallery

Today we look back to exactly where we were a year ago: contemplating the work of Turkish painter Taner Ceylan. Although author Alex Bigman likens many of the works to high-gloss fashion spreads, he notes: “A touch of vulgarity remains, and it’s hard to imagine these works having much political charge without it.” This article was originally published on October 16, 2013.

Taner Ceylan, 1881, 2010; oil on canvas; 55 1/8 x 70 7/8 inches. Image courtesy of the artist and Paul Kasmin Gallery.

Taner Ceylan. 1881, 2010; oil on canvas; 55 1/8 x 70 7/8 inches. Image courtesy of the artist and Paul Kasmin Gallery.

Taner Ceylan’s Lost Paintings series, marking the Turkish artist’s first New York solo exhibition since joining the roster of Paul Kasmin Gallery, makes for a suitably impressive debut. Begun in 2010, it consists of ten stunningly detailed hyperrealist paintings, each of which alludes to a particular figure from Turkish history or the canonical Western depictions thereof. Ceylan here aims to upset the attendant nationalist/Orientalist narratives and revivify their subjects with frank, often non-heterosexual eroticism. In 1640, the title of which refers to the year of Sultan Murad IV Ghazi’s death, a slender, young slave washes the thigh of his burly, bearded mastera reference to the acceptance of such asymmetrical homosexual relationships throughout Turkish history, and the brutal Ghazi’s documented predilection for them in particular. 1881, a reference to the birth year of Mustafa Kemal Ataturk, captures the lusty and defiant stare of a fez-clad man who suggests the Republic of Turkey’s revolutionary patriarch, as cigar smoke curls around his lips.

Prior to the Lost Paintings, Ceylan was largely producing work with decidedly more explicit sexual content. Many of these depictions are straightforwardly tender. Others, like Taner Taner, a self-portrait of the artist entering his double from behind, are more provocative; they seem to betray a naughty glee in monumentalizing images that many viewers, especially in Turkey, would find taboo (curator Dan Cameron notes how the sexual dimension of Ceylan’s work has, unsurprisingly, “brought him outright abuse in the press”). Abstraction of Nothing, Ceylan’s 2009 exhibition at I-20 Galleryhis first U.S. solo showfound the artist flirting with outright vulgarity. One work depicts a group of men pouring champagne on a kneeling woman as she fellates one and manually stimulates another; in another, a cropped penis rests on a semen-splattered close-up photograph of fashion designer Marc Jacobs.

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New York

Antoine Catala: New Feelings at 47 Canal

The 2004 hit show Battlestar Galactica chronicles a future in which artificially intelligent robots called Cylons seek to destroy the human race as they advance and meld with technology in an almost mystical way. Constructed out of biological material, a bisected Cylon fighter plane actually bleeds—sinews, guts, and all. Other Cylons evolve to look exactly like human copies, and are so intelligent that they experience the complexities of human emotion, including the nuances of love. Antoine Catala’s current solo project at 47 Canal, New Feelings, is synchronized with this fantasy. Catala delves into the gray area where technology intersects with emotion, and presents a series of experiments in sculpture and video that incite us to feel, both figuratively and literally, through machines.

Antoine Catala. Emobot (teacher), 2014; Powder coated aluminum and steel, computer, sound system, TV; Video, color sound, 13:00; Edition of 3, 71 x 21 x 18in.

Antoine Catala. Emobot (Teacher), 2014; powder-coated aluminum and steel, computer, sound system, TV; video, color sound, 13:00; 71 x 21 x 18 in.; edition of 3.

Catala’s sculpture creates abstracted prototypes of human-robot blends, searching for unlikely pockets of emotion within the rigid boundaries of the technological. He uses technology as a tool for the production and replication of emotion. The most captivating issue in Battlestar Galactica and in Catala’s work can be found in the difficulties humans have in deciphering how to treat these technological models. Should the Cylons be treated like any other malfunctioning, dangerous machine? Are they simulacra of humans? Should they be considered an improvement on the human prototype, or rather as a treacherous blend of straightforward mechanical logic and emotionally manipulative tactics?

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Los Angeles

Stan VanDerBeek: Poemfield at the Box

From the malevolent mainframe of 2001’s “Hal” to the proliferation of remote-controlled, drone-delivered destruction, dystopian visions of technology exist in abundance. Even contemporary artists who work with technology, like Cory Arcangel and Wade Guyton, tend to focus on its glitches and limitations. By contrast, the Box’s dazzling exhibition of computer-animated films by Stan VanDerBeek offers a hopeful perspective on the promise of technology, one that still captivates almost fifty years later.

Stan VanDerBeek: Poemfield at The Box, Los Angeles (installation view). Courtesy of the Estate of Stan VanDerBeek and The Box, LA. Photo: Fredrik Nilsen.

Stan VanDerBeek: Poemfield at The Box, Los Angeles; installation view. Courtesy of the Estate of Stan VanDerBeek and the Box, L.A. Photo: Fredrik Nilsen.

On view are five of the eight films that compose VanDerBeek’s Poemfield series, created between 1966 and 1971. They combine poetic texts and abstract graphics designed with an early computer language. Words emerge from a glittering mosaic of colored pixels, and then fade back into the blinking, swirling digital ground. With the exception of Poemfield No. 5 (1968), which uses footage of skydivers, all of the films represent purely computer-generated landscapes. The graphics transform and flicker at a frenetic pace while the poems slowly unfold over about five minutes. The visuals entrance and draw viewers in, but it is the enigmatic texts that hold the attention. VanDerBeek likened his films to illuminated manuscripts, wherein gilt illustrations would entice the reader to focus on the word.

The artist made these films at Bell Labs in collaboration with engineer Ken Knowlton, through Experiments in Art and Technology (EAT), an organization founded in part by Robert Rauschenberg. Knowlton had developed BEFLIX, perhaps the earliest computer animation language, which they used to write the scripts for the Poemfield films. These scripts were then run through a computer and channeled into a cathode-ray tube output that was filmed. Artists Bob Brown and Frank Olvey added color. The Box has transferred the original 16mm films to video and restored Poemfield No. 1 (1967) in HD; the difference is striking. The other films jump and stutter with wobbly focus, so that making out the words is a challenge, but the HD version is clear and sharp. This is especially true in a two-tone variant, Poemfield No. 1 (Blue Version), which strips away the color so that the original programming is highlighted. Restorations of the rest of the Poemfield series are hopefully underway.

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From the Archives

From the Archives – Help Desk: On Being “Discovered”

Help Desk is where I answer your queries about making, exhibiting, finding, marketing, buying, selling–or any other activity related to contemporary art. Submit your questions anonymously here. All submissions become the property of Daily Serving.

I’m just about to finish my first really serious series of paintings, and I’m curious about which approach is the best for self-promotion. Is it better to go all out and submit art to blogs, magazines, postcards, business cards, etc., or is it better to play it subtly, try and meet the right people, and become that hidden gem that someone finds and then shows to the world? Is it possible that being overexposed on blogs can be a turn-off to galleries, like they don’t have the pleasure of being able to say, “Look what I found!”? (I’m talking about the galleries that like to showcase new talent rather than blue chips, the kind you get your foot in the door with as an artist.)

Apparently you missed that day in Catholic school when they taught us Matthew 5:15-16: “Neither do men light a candle and put it under a bushel, but on a candlestick; and it giveth light unto all that are in the house. Let your light so shine before men, that they may see your good works.” Notice that this verse doesn’t advise, “Get thine light discovered by cunning means” or “Have another man lighteth thine candle for thee.”

Philippe Parreno with Rirkrit Tiravanija. La Batalla de los Patos, 2013; screenprint, phosphorescent ink; 39.5 x 55.5 in.; edition of 6.

Where are all these imaginary people who have ample time and inclination to discover you? I can’t imagine a single gallerist who, after curating, framing, installing, promoting, and selling a show—in addition to managing a staff, courting new collectors and arts patrons, and maybe even having a home life in the odd moment outside of work—is going to be able to wade through the deep seas of information put out there by artists who are promoting their work, in order to find you. I hope I am making this point clear for artists who sit in their studios hoping to be “discovered”: When you hear the phone not ringing, it will be the galleries not calling.

But you don’t have to take my word for it. I wrote to several arts professionals about being found and they all said the same thing: It doesn’t work like that. One gallerist from Boston said, “I would agree with you on the ‘discovery’ idea. With all the ‘noise’ in our contemporary culture, subtlety when it comes to self-promotion is a losing idea. Years ago, before social media, [another] gallerist told me he had a rule of three: If he heard the same name from three different people, he would check out the work. The more ‘buzz’ around the work, the more attention it is going to get.” A gallerist in San Francisco told me, “I couldn’t agree more. An emerging artist should be doing as much as he/she can to connect with others and find exhibition opportunities. So much can be learned from showing and working with others. This is how an artist builds his/her community within the art world and an important audience for their work. From a marketing or sales perspective, it’s of course far easier for a gallery to work with an artist who has already established a positive reputation.”

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Shotgun Reviews

From Two Arises Three at the Asian Art Museum

Shotgun Reviews are an open forum where we invite the international art community to contribute timely, short-format responses to an exhibition or event. If you are interested in submitting a Shotgun Review, please click this link for more information. In this Shotgun Review, Jing Cao reviews FromTwo Arises Three: The Collaborative Works of Arnold Chang and Michael Cherney at the Asian Art Museum in San Francisco.

Michael Cherney and Arnold Chang. After Huang Gongwong 4, 2009 (detail); photographic inkjet print and ink on paper. From the collection of Akiko Yamazaki and Jerry Yang. Courtesy of the Artist and Asian Art Museum. Photo: Jing Cao.

Michael Cherney and Arnold Chang. After Huang Gongwong 4, 2009 (detail); photographic inkjet print and ink on paper. From the collection of Akiko Yamazaki and Jerry Yang. Courtesy of the Artist and Asian Art Museum. Photo: Jing Cao.

Chinese landscape painting is notoriously inaccessible—the format is foreign, the subject deep in historicity, the materiality unassuming. Photography, on the other hand, is eminently familiar—a daily practice for many in the digital age. Enter From Two Arises Three, an exhibition of painter Arnold Chang and photographer Michael Cherney’s collaborative works at the Asian Art Museum.

At first blush, From Two Arises Three resembles a traditional landscape exhibition. Black-and-white hanging scrolls line the gallery walls; paper fans and album leaves fill cases in the center. But look closer and a genuinely contemporary collaboration begins to unfold. Many images are actually composites, with Cherney’s grainy, out-of-focus photographs bleeding into Chang’s traditional landscape painting. In a video interview that accompanies the show, Chang and Cherney describe their process: Cherney travels across China, taking photographs. He mails these to Chang’s studio in New Jersey. Chang pastes Cherney’s photos onto paper and extends the imagery with ink and brush. Like an exquisite corpse, Chang’s paintings grow out of Cherney’s photographs.

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San Francisco

Jessamyn Lovell: Dear Erin Hart at SF Camerawork

From our sister publication Art Practical, today we bring you a review of artist Jessamyn Lovell’s surveillance photography—artwork that has an incredible backstory. Author Genevieve Quick notes, “By leaving the project open-ended, Lovell smartly expands the work beyond revenge and allows viewers to consider its complexities through their own moral codes.” This article was originally published on September 25, 2014.

Jessamyn Lovell. Following 6 (Fence), 2014; digital print on vinyl; 96 x 133 in. Courtesy of the Artist and SF Camerawork, San Francisco.

Jessamyn Lovell. Following 6 (Fence), 2014; digital print on vinyl; 96 x 133 in. Courtesy of the Artist and SF Camerawork, San Francisco.

 

In Jessamyn Lovell’s exhibition Dear Erin Hart, the artist returns to SF Camerawork, where in 2009 her purse containing her identification and credit card was stolen. While it is unclear if Erin Hart was the initial thief, she accumulated unpaid parking tickets and bridge tolls, damaged rental cars, and ran a small drug operation in Lovell’s name. After being summoned to court, Lovell located Hart and began surveilling her. Lovell’s provocative project explores the ways that second-party documentation, both in image and text, constructs identity while treading uncomfortably between vigilantism and a possible reconciliation.

In the exhibition, Lovell presents telephoto images and video of Hart walking down the street. Typical of surveillance photos, the imagery is sometimes grainy, partially obscured, and generally banal; its distant vantages and documentary quality illustrate the impersonal relationship between the women. It is the exhibition’s wall text, written from Lovell’s perspective, that provides a compelling overview of the events and transforms these rather ordinary images into a powerful work.

Read the full article here.

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