Kelly Reemtsen Fix It
Kelly Reemtsen Fix It 21st November – 21st December 2018
Lyndsey Ingram 20 Bourdon Street London W1K 3PL T. +44 (0)20 7629 8849 E. info@lyndseyingram.com W. lyndseyingram.com
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Foreword Lyndsey Ingram
We are delighted to be presenting this
She has held these back for a meaningful
comprehensive group of prints and
exhibition of her prints and we are very
works on paper by Los Angeles artist
privileged to be that occasion. This is the
Kelly Reemtsen. The content of the
artist’s first show in the UK and we are
show includes almost ten years of the
pleased to be presenting such a thorough
artist’s output – from her early reduction
overview of her work.
woodcuts, a remarkable example of printmaking, to a group of recent pastels
This show is also particularly well timed.
and letterpress prints. It is rare to work
When we first started working with Kelly
with a contemporary artist who has so
several years ago, we never could have
much technical facility and enthusiastic
imagined that her first UK retrospective
commitment to graphic art. The wide
would come at such an auspicious
range of printmaking techniques included
moment. Many of her titles – Gender
in this show, all skillfully mastered and fully
Gap, Resister, Ground Breaking –
developed by Kelly, is truly remarkable.
demonstrate her strong commitment to the ongoing struggle for gender equality.
Most of her editions have long sold out
This message, always relevant, is now
and we are grateful to Kelly for letting us
even more so, as these issues are firmly
include what in many cases are the last
in the political spotlight. It seems a very
available impressions of various images.
poignant moment to be showing this
Detail left: Splitting Hairs, 2012
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work, that gracefully combines strength and beauty and reminds us that we can embody both. There are several people we are grateful to for helping make this exhibition possible, especially the David Klein Gallery, who have given us their unequivocal support in bringing Kelly’s work to the UK. This exhibition elegantly delivers both a masterclass in printmaking and an important message about the times we live in and the changes we are all striving for. Kelly’s images resonate both with the women who identify with them and the men who respect them. They are strong, they are beautiful, and they are all of us.
Detail right: Ground Breaking / We Are Better Than This, 2015 – 2018
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Resister Sister Miranda McMinn
A ladylike figure stands in a fancy party
with the punch of the “Workers Unite”
dress. It could be from the 1950s but it
posters of the Soviet era.
could also be right now. “The shape is the thing,” says the artist and printmaker Kelly
The titles of Reemtsen’s works – ones she
Reemtsen. “I want it to look really femi-
takes great pains and pleasure in creating
nine, with a cinched waist and bell skirt.
– are ripe with witty ambiguities: Splitting
When you put it on you feel very pretty.”
Hairs; Twister Sister; The Break Out; Gender Gap; Tighten Up. So is the intention to
The colours of the dress, too, are pleasing
question, to empower, or to threaten?
– hot pink polka dots, turquoise stripes,
and always a splash of orange. “Orange
“There is definitely a feminist agenda in
is my signature colour – it is in everything
my work. It speaks to my independent
that I do. It is a very happy colour,” contin-
spirit. Here I’m showing it by juxtaposing
ues Reemtsen brightly.
aggressive tools with a soft feminine form. Years ago I was looking at an old 1950s
In each image, however, the woman is
magazine and noticed a picture of a wom-
holding something. In one piece it’s a
an in an evening gown holding a garden
chainsaw. In others it’s an axe, a wrench,
hose, illustrating an article entitled ‘Should
bolt-cutters or shears. The prints mix the
women be able to water the lawn?’ It’s
prettiness of a Vogue fashion drawing
hard to believe they could even ask such
Detail left: Birthday Girl, 2015
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a question, but it set off a spark. I thought,
artist, Reemtsen chooses to present them
should a woman be able to chop down a
as an anonymous figure. “I want the female
tree, put shingles on a roof, drill a hole?
viewers to see themselves in the picture,’
That’s when I had the idea of showing
explains Reemtsen.”
women with tools.” The theme of the mechanical – demonstratAs Reemtsen sees it, the tools demon-
ed by the tools the subjects are carrying
strate that the woman is working and can
– is played out further in the medium that
do anything she wants. However, if others
Reemtsen uses. The fact that her method
impute more sinister undertones she’s
of printmaking is so intricate and technical,
fine with that too. “I feel the imagery is
with a lot of tools and equipment involved,
strong, but I don’t feel bad when someone
plays into the gender debate. There is a
finds the work threatening. It’s rare, but oc-
contrast between the girlish elegance of
casionally a man will say to me, ‘I feel like
the prints and how the works are made. In
she’s going to kill me’ and I say ‘no, she’s
printmaking, creativity exists within a very
working, she doesn’t know you exist’.”
tight set of parameters constructed by the technicality and mechanics of process.
All the women, drawn from life, are pic-
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tured from the shoulders down. Although
The purpose of early printmaking, as
the model in each work is a friend of the
explained by gallerist Lyndsey Ingram
whose Mayfair gallery specialises en-
category. I am putting pieces together
tirely in print works, was often to share a
and layering them and making sure they fit.”
message. It’s a fitting medium for Reemtsen’s urgent call to action. Yet Reemtsen,
Reemtsen’s work, moreover, mixes print-
originally a painter, came to printmaking
making methods, often including several
as a different way to make a mark and
in one work – woodcuts, screenprint, etch-
to create dramatically different surfaces.
ing. The greater the technical challenge,
“I use printmaking as a respite from the
the more Reemtsen embraces it. “I do
painting… it’s like hitting refresh where I
reductive woodcuts, a technique made
get different ideas for the body of work, for
famous by Picasso. This is done from a
colours, for positions, for new models. It’s
single piece of wood and from that one
a jumping-off platform for new ideas.”
piece of wood I get 13 colours. Starting with the first colour, I print each colour
“Printmaking is extremely technical so
in succession, usually from light to dark,
it shifts my brain in a different direction,
and after I print each colour I cut away (or
where all of a sudden I’m thinking about
reduce) the original surface to prepare for
math and precision. Most of printmaking is
the next colour.”
done in reverse so I’m working on a mirror image. I’m a person who enjoys puzzles
“I’m drawn to the risk because once a
and printmaking is definitely in the same
colour is printed you can’t go back. I love
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it because it scares me a little bit and I feel
Perhaps that is where the real satisfac-
like it’s the one thing that challenges me.
tion of Reemsten’s work lies - her can-
Painting gets me to a zen moment, printing
dy-coloured call to action represents a
gets me out of my comfort zone, gets me
battle against the bullying culture in which
thinking. I go to bed thinking about these
we are currently immersed, one where
projects and I wake up thinking about them.”
women get to wield the wrench.
The method fits the message. Until the
“Every day I go to my studio and I think
most recent US election, Reemtsen
I’m fighting back!” she declares.
was thinking of moving on from her theme.“After that, I felt it necessary to
Miranda McMinn has worked in women’s jour-
continue creating my body of work. I now
nalism for 25 years as deputy editor of Marie
see the women in my images as soldiers
Claire and Red, and is currently executive editor
for the resistance. Why do we still get
of Woman & Home. She has written for publica-
a jolt when we look at these pictures?
tions including The Times, Observer, Independ-
Why does it seem almost transgressive
ent, You magazine and Evening Standard.
to see a woman holding a power tool? For me, the most interesting thing about the work is that we still have to talk about these issues.”
Detail right: Reconnected, 2018
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Splitting Hairs Woodcut printed in colours, 2012. Signed in pencil and numbered from the edition of 10. Printed on Rives BFK 300 gsm paper by the artist at Venice Printmaking Studio, Venice, Italy and the artist’s studio, Los Angeles. Published by the artist. 114 × 114 cm
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You Wouldn’t Woodcut printed in colours, 2012. Signed in pencil and numbered from the edition of 10, with 1 artist’s proof. Printed on Rives BFK 300 gsm paper by the artist at Venice Printmaking Studio, Venice, Italy and the artist’s studio, Los Angeles. Published by the artist. 114 × 114 cm
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Birthday Girl Etching with screenprint and hand-colouring, 2015. Signed in pencil and numbered from the edition of 25, with 7 artist’s proofs. Printed on Rives BFK paper by Peter Pettengill at Wingate Studio, New Hampshire. Published by the artist. 91.4 × 91.4 cm
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Birthday Girl, Orange Etching with screenprint and hand-colouring, 2015. Signed in pencil and numbered from the edition of 10, with 3 artist’s proofs. Printed on Rives BFK paper by Peter Pettengill at Wingate Studio, New Hampshire. Published by the artist. 91.4 × 91.4 cm
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Ground Breaking Etching with screenprint and hand-colouring, 2015. Signed in pencil and numbered from the edition of 25, with 7 artist’s proofs. Printed on Rives BFK paper by Peter Pettengill at Wingate Studio, New Hampshire. Published by the artist. 91.4 × 91.4 cm
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Ground Breaking, Orange Etching with screenprint and hand-colouring, 2015. Signed in pencil and numbered from the edition of 10, with 3 artist’s proofs. Printed on Rives BFK paper by Peter Pettengill at Wingate Studio, New Hampshire. Published by the artist. 91.4 × 91.4 cm
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Twister Sister Etching with screenprint and hand-colouring, 2015. Signed in pencil and numbered from the edition of 25, with 7 artist’s proofs. Printed on Rives BFK paper by Peter Pettengill at Wingate Studio, New Hampshire. Published by the artist. 91.4 × 91.4 cm
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Twister Sister, Orange Etching with screenprint and hand-colouring, 2015. Signed in pencil and numbered from the edition of 10, with 3 artist’s proofs. Printed on Rives BFK paper by Peter Pettengill at Wingate Studio, New Hampshire. Published by the artist. 91.4 × 91.4 cm
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Swinger Screenprint in colours, 2015. Signed in pencil and numbered from the edition of 25, with 10 artist’s proofs. Printed by the artist. Published by the artist. 76.2 × 76.2 cm
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Striking Screenprint in colours, 2015. Signed in pencil and numbered from the edition of 25, with 10 artist’s proofs. Printed by the artist. Published by the artist. 76.2 × 76.2 cm
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Unplugged Screenprint in colours, 2015. Signed in pencil and numbered from the edition of 25, with 10 artist’s proofs. Printed by the artist. Published by the artist. 76.2 × 76.2 cm
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Trim Screenprint in colours, 2016. Signed in pencil and numbered from the edition of 25, with 10 artist’s proofs. Printed by the artist. Published by the artist. 76.2 × 76.2 cm
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Gender Gap Portfolio (p. 37 – 39) The complete set of 9 photogravure, aquatint and screenprints in colours, 2016. Each signed in pencil and numbered from the edition of 6, with 2 artist’s proofs. Printed by the artist. Published by the artist. Each sheet: 40.6 × 40.6 cm
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Gender Gap / Shears Photogravure, aquatint and screenprint in colours, 2016. Signed in pencil and numbered from the edition of 25, with 6 artist’s proofs. Printed by the artist. Published by the artist. 40.6 × 40.6 cm
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Gender Gap / Sledgehammer Photogravure, aquatint and screenprint in colours, 2016. Signed in pencil and numbered from the edition of 25, with 6 artist’s proofs. Printed by the artist. Published by the artist. 40.6 × 40.6 cm
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Gender Gap / Bolt Cutter Photogravure, aquatint and screenprint in colours, 2016. Signed in pencil and numbered from the edition of 25, with 6 artist’s proofs. Printed by the artist. Published by the artist. 40.6 × 40.6 cm
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Gender Gap / Chainsaw Photogravure, aquatint and screenprint in colours, 2016. Signed in pencil. One of 5 artist’s proofs. Printed by the artist. Published by the artist. 40.6 × 40.6 cm
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The Break Out Screenprint and woodcut printed in colours, 2017. Signed in pencil and numbered from the edition of 25, with 7 artist’s proofs. Printed on Somerset Satin 410gsm paper by Advanced Graphics, London. Published by the artist. 95.4 × 94 cm
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Tighten Up Screenprint and woodcut printed in colours, 2017. Signed in pencil and numbered from the edition of 25, with 7 artist’s proofs. Printed on Somerset Satin 410gsm paper by Advanced Graphics, London. Published by the artist. 92.7 × 91.4 cm
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Ground Breaking / We Are Better Than This Unique etching with screenprint and gouache, 2015-2018. Signed in pencil. Printed on Rives BFK paper by Peter Pettengill at Wingate Studio, New Hampshire. Published by the artist. 91.4 Ă— 91.4 cm
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Birthday Girl / What The Fuck Unique etching with screenprint and gouache, 2015-2018. Signed in pencil. Printed on Rives BFK paper by Peter Pettengill at Wingate Studio, New Hampshire. Published by the artist. 91.4 × 91.4 cm
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Twister Sister / I Have Had It Unique etching with screenprint and gouache, 2015-2018. Signed in pencil. Printed on Rives BFK paper by Peter Pettengill at Wingate Studio, New Hampshire. Published by the artist. 91.4 Ă— 91.4 cm
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Reconnected Pastel on paper, 2018. Signed in pencil. 66 Ă— 76.2 cm
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Strong Start Pastel on paper, 2018. Signed in pencil. 66 Ă— 76.2 cm
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Resister Pastel on paper, 2018. Signed in pencil. 50.8 Ă— 96.5 cm
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Solo Exhibitions 2018
Fix It, Lyndsey Ingram, London
Circa, Skidmore Contemporary Art,
Albertz Benda, New York NY
Santa Monica, CA
Galeri Oxholm, Copenhagen DK 2010
It’s My Party, Adler&Co, San Francisco, CA
2016
Over It, David Klein Gallery Detroit, MI
2015
Smashing, De Buck Gallery, New York, NY
2014
New Works, Lieven De Buck Gallery,
Francisco, CA
St Paul de Vance, France
Striving for Perfection, David Klein
Equal Opportunity David Klein Gallery,
Gallery, Birmingham MI
Birmingham MI
Recent Paintings, Campton Gallery,
I’m Not Falling For You, Skidmore Contemporary Art, Santa Monica, CA 2009
Recent Paintings, Caldwell Snyder, San
New York, NY 2013
America’s Sweetheart, De Buck Gallery, New York, NY
2007
Recent Paintings, Caldwell Snyder, San Francisco, CA
2012
Paper and Chalk, Skidmore Contemporary Art, Santa Monica, CA
2006
Process & Palette, Solo Show, de Soto, Los Angeles, CA
2011
Clean, Skidmore Contemporary Art,
Object Lessons, Two Person Show,
Santa Monica, CA
University Art Gallery, CSUDH,
New Paintings, David Klein Gallery,
Carson, CA
Birmingham, MI
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2005
Good Living, de Soto, Los Angeles, CA All Through the House, Metro Gallery Pasadena, CA Time Line, ONE Gallery, Palms Springs, CA
2003
Lifestyle, Gallery 825, Bergamot Station, Santa Monica, CA Three Decades of Design, Risk Art Press, West Hollywood, CA
2002
Dress, Metro Gallery, Pasadena, CA
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“I’m drawn to the risk because once a colour is printed you can’t go back. I love it because it scares me a little bit and I feel like it’s the one thing that challenges me. Painting gets me to a zen moment, printing gets me out of my comfort zone, gets me thinking. I go to bed thinking about these projects and I wake up thinking about them.” Kelly Reemtsen
Left: Artist in her studio, 2012
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Published by Lyndsey Ingram on the occasion of the exhibition: Kelly Reemtsen – Fix It, 21st November – 21st December, 2018 Images © 2018 Kelly Reemtsen Designed by Lucy Harbut Printed by Dayfold