MAY 2018 BOOTH D34
GRIMM is pleased to present new works by Alex Dordoy (UK, 1985) at Frieze New York. This series of work comes as a glimpse into a larger body that will be exhibited in the artistâ€™s third solo show at GRIMM, Amsterdam in October of 2018. In these works, Dordoy explores a central characteristic of 21st-century visual culture: the restlessness of image, and the instability of the surfaces on which it manifests.
Acrylic on canvas 75 x 50 cm | 29 1/2 x 19 3/4 in
Acrylic on canvas 200 x 140 cm | 78 3/4 x 55 1/8 in
Evian-les-Bains (magenta), 2018 Acrylic on canvas 200 x 140 cm | 78 3/4 x 55 1/8 in
Evian-les-Bains (cobalt), 2018 Acrylic on canvas 200 x 140 cm | 78 3/4 x 55 1/8 in
1918, 2018 Acrylic on canvas 75 x 50 cm | 29 1/2 x 19 3/4 in
For Cruising, 2018
Acrylic on canvas 140 x 200 cm | 55 1/8 x 78 3/4 in
DANA LIXENBERG Dana Lixenberg (NL, 1964) presents two portraits from her upcoming solo exhibition with GRIMM, Amsterdam in September of 2018. Conceived as a tribute to her friend George Pitts, the legendary photographer, writer, painter, and founding director of photography for VIBE and LIFE magazines, Lixenberg exhibits a selection of large-scale images of American icons who were instrumental in shaping today’s pop-culture. These works are distinct in terms of the subjects exposed relationship to the photographer — Lixenberg has an unparalleled ability to document her subjects’ true selves.
Christopher Wallace (Biggie), 1996, 2018 (detail)
Christopher Wallace (Biggie), 1996, 2018
Archival pigment print
156 x 122 cm | 61 3/8 x 48 1/8 in Edition of 5 plus 2 artistâ€™s proofs
Shawn Carter (Jay Z), 1998, 2018 Archival pigment print
160 x 125 cm | 63 x 49 1/4 in Edition of 5 plus 2 artistâ€™s proofs
CHARLES AVERY Since 2004, Scottish artist Charles Avery (UK, 1973) has dedicated himself to the invention of an imaginary island, new corners of which he continues to chart through drawings, sculptures and texts. At Frieze New York we are pleased to present a new painting Untitled (Bather in the Memory of Conch-iousness, close-up (gold swimsuit, pearl bangle)), and a sculpture Untitled (The Space of Things to Come).
Untitled (Students on the steps of the Square Gasket auditorium), 2016 Pencil, ink, acrylic, watercolor on paper mounted on linen Framed: 64.5 x 52.5 x 3.5 cm | 25 2/5 x 20 5/8 x 1 3/8 in
Untitled (Bather in the Memory of Conch-iousness, close-up (gold swimsuit, pearl bangle)), 2018 Acrylic, ink and pencil on paper mounted on linen Unframed: 57 x 42 x 5 cm | 22 1/2 x 16 1/2 x 2 in
Untitled (The Space of Things to Come), 2017
Bronze, card, brass, silver plating, stainless steel Total: 165 x 70 x 70 cm | 65 x 27 1/2 x 27 1/2 in
Woman in Mirage, 2018
Oil, oil stick, 23k gold, plaster, wood on panel 121.9 x 91.4 cm | 48 x 36 in
Venus in Shadow, 2018
Black gesso, plaster, rocks, wood on panel 63.5 x 53.3 cm | 25 x 21 in
left to right, from top
formation (model), 2018
45 x 35 cm | 17 3/4 x 13 3/4 in
grounded 2, 2018 35 x 45 cm | 13 3/4 x 17 3/4 in four of a kind, 2018
40 x 50 cm | 15 3/4 x 19 3/4 in
neeuung, 2018 35 x 45 cm | 13 3/4 x 17 3/4 in floating kind, 2018
40 x 40 cm |15 3/4 x 15 3/4 in
40 x 50 cm | 15 3/4 x 19 3/4 in
come again, 2018 40 x 50 cm | 15 3/4 x 19 3/4 in all: oil on linen
Daniel Richter (DE, 1962) is one of the most important German artists of his generation. In his work, figuration is fragmented and distilled to a minimum. Sharp lines depict the contours of body parts, strengthened by vivid, vibrant hues that create a suggestion of movement. The interplay of the strong silhouettes and the subtle gradation of color in the background balances between abstraction and figuration.
It can happen here, 2017
Oil on canvas 210 x 160 cm | 82 5/8 x 63 in
Eric White (US, 1968) references 20th century film, music and pop culture backed by consummate draftsmanship and painterly finesse to recode the dominant narratives of contemporary society. Collusion: Deb is a glimpse into a larger body of work that will be exhibited in the artistâ€™s solo show at GRIMM, New York in November of 2018.
Collusion: Deb, 2018 (detail)
Collusion: Deb, 2018
Oil on panel 40.6 x 40.6 cm | 16 x 16 in
NICK VAN WOERT Nick van Woert’s (US, 1979) new work, Drink Sequence, is a continuation of his interest in altered states. “Nothing is what it seems” says van Woert, “I’m walking around sober in an intoxicated landscape. It’s part dream sequence, part self portrait. A random group of things from my life sliding through my mind and sometimes colliding, some meaningful some not, some of it makes sense and some of it does not. It’s like being intoxicated - the laws that govern all things are suspended and something else emerges, a new perspective.” The title is a turn on the phrase “dream sequence”, aiming to connect earlier works related to intoxication with a new interest in altered states - the world of dreams.
Drink Sequence, 2018 Cat litter, coal staff, white bronze, aluminum, geode, lava rock, electroformed copper, 3 quarters, 2 dimes, a nickel, steel, epoxy, titanium, coated crystals, wooden foot, plastic statue parts, urethane, stainless steel, beer can, footballs, a piton 116.8 x 59.7 x 67.3 cm | 46 x 23 1/2 x 26 1/2 in
clockwise from top left
demo (cntrl), 2018 40 x 30 cm | 15 3/4 x 11 3/4 in demo 2 (divided), 2018
36 x 49 cm | 14 1/8 x 19 1/4 in
demo 3 (metamood), 2018
35 x 50 cm | 13 3/4 x 19 3/4 in
demo 2 (monitor), 2018 35 x 45 cm | 13 3/4 x 17 3/4 in demo 2 (psywar), 2018 52 x 37 cm | 20 1/2 x 14 5/8 in all: acrylic, laser printer pigment transfers, acrylic dispersions and thread on canvas
ADRIAN0 AMARAL Adriano Amaral (BR, 1982) creates delicate installations in which materials, gestures and objects are drawn into the realm of the personal and intimate. By mixing material, image and composition he creates alternate layers of association. Sometimes harmonious, sometimes discordant, the result of his procedure shows a humanized reflection of time and shape in the space where the human form and architecture meet. Adriano Amaral will present a solo exhibition at GRIMM, New York in September of 2018.
Untitled, 2018 Silicone rubber, acrylic tube, found sneakers, cables, aluminum powder, extension bar approx. 210 x 20 x 50 cm | 82 5/8 x 7 7/8 x 19 3/4 in
Untitled, 2018 Installation View GRIMM, Brussels
ADAM HELMS Adam Helms (US, 1974) presents the first two paintings on linen from his Zombie Identities series. Looking through old magazines and print ephemera from the 1970’s and 80’s, Helms noticed that faded images of women from these eras appear as ghost-like or phantasmagoric. In the case of magazine advertisements, women were presented as an additional element within the composition, often secondary to the subject of the stated advertisement and resulting image. In many cases, representations of women appear objectified, commodified without regard to their personality or dignity. The viewer is left to attempt to identify each individual depiction. This search for identification, recognition, memory and the viewer’s urge to inject meaning into each image becomes a point of departure. Thinking about history, photography and the methodology of reproduction, the works are ultimately ‘ghosts’ or ‘zombies’ from a mediated history.
Untitled (Guerrilla #2), 2018 Acrylic and oil on linen 76.2 x 61.6 cm | 30 x 24 1/4 in
Untitled (Guerrilla #1), 2018
Acrylic and oil on linen 76.2 x 61.6 cm | 30 x 24 1/4 in
WILLIAM MONK William Monkâ€™s (UK, 1977) scenographic works tap into the rich tradition of painting. Monk paints enigmatic and vibrant works, using starkly divisional compositions and often works in extensive series that gradually evolve over time. The canvases carry irregular intensities of detail, line, foreground and background, a sense of repetition breaks down the figuration, creating visual mantras.
Untitled (Three Clouds), 2018 Oil on canvas, artist frame 45.7 x 35.6 cm | 18 x 14 in
Atomic Flower Power (Altarpiece), 2018 Oil on canvas 270 x 167 cm | 106 1/4 x 65 3/4 in
Rhys Coren (UK, 1983) works across animation, writing, performance and painted marquetry; each media displaying an obvious pleasure in rhythm, rhyme, form, color, space and negative space. At Frieze New York we present two new painted, wall-based panels of textured, interlocking board. These works are inspired by trapped moments, embellished through detail, color and texture. Frozen frames that try to maintain a real-Âtime rhythm. Every line and space (and negative space) becomes equal; cut, treated and assembled. They are pictures of pleasure, from pleasure, fueled by music and the written word.
Like An Eagle, 2018
Spray paint, acrylic and pencil on board 66 x 50 x 3 cm | 26 x 19 3/4 x 1 1/8 in
As cold as ice cream but still as sweet, 2018
Spray paint, acrylic, pencil on board 56 x 41 x 3 cm | 22 1/8 x 16 1/8 x 1 1/8 in
MATTHEW DAY JACKSON
Matthew Day Jackson (US, 1974) presents a new work from his LIFE series. Time LIFE Magazine was one of the leading American magazines in the 1960’s and 70’s. Many of its covers have become iconic as they refect the American view on the world of that time. This particular cover from April 6, 1959 was a foldout, hence the landscape orientation of the painting. The image is Emigrants Crossing the Plains (1869), a painting by Albert Bierstadt (1830-1902), whose work Jackson has referenced many times for its significance as a touchtone of American ideology. According to the artist, “the Manifest Destiny doctrine continues today in American diplomacy which reeks of arrogance, entitlement and recklessness on the international stage.” In the case of this work, the connection between the text from 1959 and current events illuminates the bankruptcy of our contemporary moment.
LIFE, April 6, 1959, 2018 (detail)
LIFE, April 6, 1959, 2018 Scorched wood, acrylic paint on epoxy resin, lead on panel, stainless steel frame 156.8 x 221.6 x 7.6 cm | 61 3/4 x 87 1/4 x 3 in
CLAUDIA MARTÍNEZ GARAY Claudia Martínez Garay’s (PE, 1983) work is in dialogue with the impact of colonialism on cultural artifacts, questioning how cultural artifacts are created, preserved, transformed and circulated. Presented are paintings, based on the cronics of Guaman Poma de Ayala, “El Oro del Pirú (come pro) / El Oro del Pirú (gold eater), and El Oro del Pirú / The Gold of Perú (take this gold, but go). The paintings narrate injustice done to the Inca’s by the Spanish, resulting in murder over gold.
Cheering Crowds, 2018 Installation View New Museum, New York
“El Oro del Pirú (come pro) / El Oro del Pirú (gold eater), 2018
Plaster on wood, watercolor, gouache, acrylic 100 x 80 cm | 39 3/8 x 31 1/2 in
El Oro del Pirú / The Gold of Perú (take this gold, but go), 2018 Plaster on wood, watercolor, gouache, acrylic 100 x 80 cm | 39 3/8 x 31 1/2 in
Steel Face Concrete Bend (Bryce Canyon), 2017 Unique C-prints, concrete, emulsion transfer, steel frame, 96.5 x 83.8 x 3.8 cm | 38 x 33 x 1 1/2 in
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