Issuu on Google+

2006–2007

511

west 25 th street, new york, ny www.cueartfoundation.org

10001

jasmine justice


J a s m i n e ju s t i ce

CUE Art Foundation April 26 – June 2, 2007

Curated by David Reed

Foreword

We are honored and grateful to present this exhibition generously curated by David Reed. For the CUE solo exhibition series, Mr. Reed has chosen fellow artist, Jasmine Justice, who lives and works in New York. Ms. Justice is admired by her peers as an artist who has forged a unique artistic voice. Reed’s appreciation of Justice’s work demonstrates just such admiration.

CUE is pleased to recognize that this is Ms. Justice’s first solo exhibition in New

York. Mr. Reed and we, together, celebrate this effort and wish her a future of fulfillment and success.

This exhibition is supported in part by ??

LEAD SPONSOR OF 2006-07 SEASON OF EXHIBITION CATALOGUES: KYESUNG PAPER GROUP (SOUTH KOREA) ADDITIONAL SUPPORT PROVIDED BY ELIZABETH FIRESTONE GRAHAM FOUNDATION


Artist's Statement

Jasmine Justice

Curator's Statement

David Reed

I don’t ever want to know what a piece will look like until it’s finished. I make art to develop new

Diamonds are…

mental avenues and experience them in the physical realm, exploring and meditating upon

(Big Rock Candy)

unknowns, thinking and making as simultaneously as possible. I’ll get a strong feeling about a very particular shade of green and a compulsion to

I first saw Jasmine Justice’s work when I was a visiting artist at Rutgers (Fancy). I liked the

put it into play. As the piece progresses I hold loosely to green’s role, its dominance fluctuating. If it

rough physicality and materiality of her paintings (Plus or Minus). I especially remember seeing

escapes I might not notice immediately. It might lead to recognizable imagery, or not. Incidents are

a green painting that had been worked over many times (Chloro-fill) and a sheet of glass leaning

allowed to remain at the brink of clarity or finish. The early stages of mental emergence are worth

against the wall with clotted, dripping yellow paint (Grape Crush)—a piece that was hard to

appreciating. I have a fondness for these blunt yet malleable syntactical units, which conversely

call a painting (Grit). We spoke during that first meeting about ’70s experimental abstraction

arouse my appetite for lavish, painterly activity.

(Seventies Secretion). I like the way the physicality of her paintings can turn into an image (Urban Orbs), a doubling that never seems possible, even as one sees it (Hovercrop). Looking at the paintings for this show, this doubling reminds me of Gilles Deleuze’s description of crystal-form as a kind of form in which the actual and virtual images are so united one can no longer distinguish which is which (Recycled (Kiss)). In Jasmine’s paintings this crystal-form is complicated again by being both figurative and abstract (Calamity Jane). Her paintings are very theatrical (Skirt). As proof, she is very good with titles (Busypark). I wish that I could think of such excellent titles for my paintings (Headlights). Her paintings seem to have a story behind them (Savior (Isis Painting)). What stories do they make with their doublings and combinations (Blushing Bride)? Why do we want to follow these stories (Painter’s Tears)? David Reed, January 23, 2007


Grape Crush, 2006 Acrylic and oil on canvas, 24" x 24"

Conjoined Twins, 2006 Oil on canvas, 28" x 22"


Nestle, 2006 Acrylic and oil on canvas, 16" x 12"

Headlights, 2006 Flashe and acrylic on canvas, 18" x 18"


Skirt, 2006 Acrylic and oil on canvas, 48" x 46"

Big Rock Candy, 2006 Acrylic on canvas, 44" x 42"


Urban Orbs, 2007 Flashe and acrylic on canvas, 16" x 12"

Fancy, 2007 Flashe, acrylic and oil on canvas, 18" x 18"


Savior (Isis Painting), 2006 Acrylic and oil on canvas, 36" x 36"

Recycled (Kiss), 2007 Acrylic and oil on canvas, 48" x 48"


In Conversation

Wendy White and Jasmine Justice

January 2007

Wendy White: In many of your paintings–for

finish. I’m not sure if it’s like this for you, but

example, the large one called Recycled (Kiss)

when things are going well I get so excited

–there are dueling “compartments” in which

about where I’m going that I can hardly

you attack separate but linked formal issues.

contain myself enough to finish it.

You tend to show the different possibilities for a line, a shape, or a combination of things,

WW: Oh yeah, definitely. Sometimes

rather than delineating one independent

finishing feels hollow to me... like, why

solution. When you’re painting, are you

bother just to make something look a certain

presenting yourself with problems, resolving

way when you’ve conceptually moved on

them, and moving on... or is your process

already? But that said, your paintings have

largely intuitive?

an unencumbered-ness to them... I think somehow you’re managing to finish them

Jasmine Justice: I don’t usually start off with

without adding any “finishing touches” – that’s

a specific plan. Usually it’s more of a scenario

the best part. Are you conscious of that? Are

that I’m curious about. I try to have a studio

you ever trying to reconcile “decorative” or

practice that will provide me with a wide range

“painterly” aspects?

of experiences. I like contrasting the qualities or circumstances inside paintings against one

JJ: I try to be really aware of what point they

another. Often I feel compelled to create a

might become bogged down or hermetically

counter situation or alternative reality as a sort

sealed. I like to leave things open ended,

of antidote to an arising circumstance within

sometimes really rough or sketchy. Some of

a piece.

my strongest visual experiences have come from looking at highly ornate mosques, Hindu

WW: So how do you decide where to stop? Do

Temples. And I love Art Nouveau poster

you sometimes finish a painting (or problem)

borders and other decorated or densely

within another painting?

patterned surfaces, especially those indicating otherworldly devotion. Patterning that

Plus or Minus, 2007 Acrylic and Flashe on canvas, 16" x 12"

JJ: It can be really hard to stop. If I don’t know

approaches the tacky or sassy can also be

where to go with something I put it away for

great, really bratty and obnoxious. Sometime

a while, in some cases for months. Sometimes

I mimic these types of experiences with

a really simple painting takes a long time to

varying degrees of bluntness.


WW: I think you’re doing that successfully…

spirits, especially if they are female

WW: Extracting... that’s such a great way to

WW: Nothing’s off-limits. I think if you’re

incorporating existing motifs and letting them

(who’ve usually been overlooked) and/or

look at it. It reminds you why you like things

really invested and not naïve about it

become new and indescribable objects, all

new discoveries to me. For now I’m not

and gives meaning to reaction, which always

everything falls into place. I mean, don’t

without assigning history to them. I guess it

as interested in spending much time in

gets the shaft. Channeling is an interesting

you see work all the time that is a hair away

relates to process more than intent. At least

the same place.

word, too... sort of a WWJD kind of thing,

from being totally ridiculous, but somehow

with a slightly voodoo component. I like

manages to ride the line? It doesn’t matter if it has discernable cultural relevance or not.

that’s how it comes across. There’s a familiarity to some of your combinations, yet it’s vague

WW: Your paintings are more like individual

that. Earlier, you mentioned being drawn to

enough and slightly disparate enough not

battles, like you’ve got a bone to pick with

patterns. I always get hung up on the idea of

Too far in the safe zone is not challenging

to be nostalgic or homage-like. Then there’s

each one. They’re very personified. Do they

connotations and borrowed history, but your

enough, and too gratuitously absurd can be

joyfulness and an openness that I think relate

ever seem figurative to you? Or does that

paintings evade that immediate read.

insulting...I guess it comes back to intention

directly to how you apply paint. You’re not

word make your skin crawl...I mean, they’re not

afraid to cover things up and push things into

abstract, really...

weird awkward places, but it’s never formulaic.

and one’s chosen audience. Choosing to JJ: And although there IS extracting, it’s not

see yourself as connected to other artists,

always consciously directed or pre-meditated.

throughout history, is a pretty beautiful way to

You don’t really push things the same way

JJ: “Figurative” can be really repulsive,

I try to not always be aware of what I’m

keep genuine momentum going. I don’t think

twice. Don’t you think that style is the biggest

depending on how it’s used. Often it’s used

channeling, sometimes determining that

real artists regurgitate anyway. They have too

life-sucker there is? It’s boring.

to refer to works that have depictions of

when I step away and look at it. It can be

much imagination and compulsion to stay

people in them and is pitted against the term

wonderfully surprising. I think reaction

interested that way.

JJ: …and exhausting, waiting for certain styles

abstraction. Abstraction in this sense doesn’t

gets the shaft because intuition and less

to go out of fashion! I’m more interested in

even mean abstraction. It means that it isn’t a

nameable sources are highly distrusted and

JJ: I think seeing this connection to other

disparate variety. I like thinking about whom

straightforward landscape, still life or person

I think reacting often comes from those

artists can be an act of love and kindness, a

I would like to show with, from this time or

painting. This “pitting against” can really just

places. “Channeling” is a useful term and can

way of connecting yourself to other people

a previous one. How far (thousands of years

distract us from what a work is really about.

be a powerful experience because it implies

and celebrating life.

or a few minutes) can I reach out and hold

They are false categories.

a flattening out of time, where we all exist at

the hands or brushes of other painters. I

My works can be figurative in the sense that

once, on the same plane. I usually don’t try

Wendy White is an artist and writer. She lives

went to the Société Anonyme: Modernism

they relate to different parts of the body. I will

to evade but I feel it can be really restrictive

and works in New York.

for America show at The Hammer Museum

imbue anything with a bodily function. They

to get too mired in a particular moment. But

in LA last summer and felt ecstatic to be

aren’t a version or abstraction of anything

don’t you think there are influences we can or

wandering around with so many interesting

that already exists. I guess they are more like

should be really brave about having, almost

and unfamiliar ghosts like Sophie Taeuber-Arp

extraction-inventions.

like a responsibility? We don’t want anything

and Oskar Fischinger. I really love the notion of

to be off limits, do we? It’s really important to

channeling, you know—opening up to artists’

question who gets to be the decider.


Biography

Jasmine Justice

Biography

David Reed

Jasmine Justice was born in 1972 in West Virginia. As a child she moved to Wyoming, Idaho, and

David Reed is a painter. Born in California, he moved to Lower Manhattan in 1971, where he

Washington and has also lived in Helsinki and Istanbul. At age 13 she became involved with the

continues to live and work. Since 1976, he has been represented in New York by Max Protetch

thriving punk scene of Spokane, WA and its visual arts subculture. She then moved to Seattle, WA

Gallery. His first show in Europe was with Galerie Ricke in Cologne in 1989, and he has also been

where she received a BFA in printmaking, from the University of Washington in 1997. Two years

showing in Europe with Galerie Xippas in Paris; Galerie Bob van Orsouw in ZĂźrich; and Galerie

later she moved to New York and worked as a printmaker before attending Rutgers University, NJ

Schmidt Maczollek in Cologne. In 1998, David Reed Paintings: Motion Pictures, a traveling exhibition

where she received an MFA in 2003. She now lives and works in Brooklyn, NY. She participated in

and publication was organized by the Museum of Contemporary Art, San Diego, CA. Leave Yourself

residencies at Painting’s Edge, Idyllwild, CA (2003 and 2006) and at the Atlantic Center for the

Behind: Paintings and Special Projects 1967-2005, another traveling exhibition and publication was

Arts (ACA), in New Smyrna Beach, FL (2006), and has recently been included in group exhibitions

organized by the Ulrich Museum of Art, Wichita, KS in 2005.

at HIGH ENERGY CONSTRUCTS in Los Angeles, CA; Domo Gallery in Summit, NJ; The Riverside Art Museum in Riverside, CA, and ZieherSmith Inc. in New York, NY. Her 2007 show at CUE Art Foundation marks her first solo exhibition.


Mission Statement

CUE Art Foundation

CUE Art Foundation, a 501 (c)(3) non-profit arts organization,

Board of Directors

is dedicated to providing a comprehensive creative forum for

Gregory Amenoff

contemporary art by supporting under-recognized artists via a

Theodore S. Berger

multi-faceted mission spanning the realms of gallery exhibitions,

Patricia Caesar

public programming, professional development programs and

Thomas G. Devine

arts-in-education. The Foundation was established in June of 2002

Thomas K. Y. Hsu

with the aim of providing educational programs for young artists

Brian D. Starer

and aspiring art professionals in New York and from around the country. These programs draw on the unique community of artists,

Advisory Council

critics, and educators brought together by the Foundation’s season

Gregory Amenoff

of exhibitions, public lectures, workshops, and its studio residency

William Corbett

program: all are designed to be of lasting practical benefit to

Deborah Kass

aspiring and under-recognized artists. The entire CUE identity is

Kris Kuramitsu

characterized by artistic quality, independent judgment and the

Jonathan Lethem

discovery of genuine talent, and provides long-term benefits both

Lari Pittman

for creative individuals associated with CUE and the larger art

Irving Sandler

marketplace. Located in New York’s Chelsea gallery district, CUE’s 4,500 square feet of gallery, studio and office space serves as the

executive Director

nexus for educational programs and exhibitions conducted by CUE.

Jeremy Adams

programs coordinator Cover: Urban Orbs (detail), 2007 Flashe and acrylic on canvas, 16” x 12”

Beatrice Wolert-Weese

All artwork © Jasmine Justice

programs assistant

Photo credits: Jesse Farber

Kara Smith

Catalog designed by Elizabeth Ellis preparator Printed on TriPine paper of KyeSung Paper Group (South Korea) Cover: TriPine Art Nouveau 209gsm (78lb), Text: TriPine Silk 157gsm (106lb) Printer: Yon Art Printing (South Korea) ISBN 13: 978-0-9791843-4-5 ISBN 10: 0-9791843-4-7

Drew Lichtenstein


Jasmine Justice