D CK T CON TEMPORARY WEBS I T E www.dcktcontemporary.com E- M A I L kt @ dcktcontemporary.com PHO N E +1 212 741 9955 CEL L +1 917 846 7349 CONTA C T N A M ES Ken Tyburski Dennis Christie
EXHI B I T E D A R T IS T S Matthew Craven Brion Nuda Rosch Russell Tyler OTH E R R E P R E S ENT ED AR T IST S Helen Altman Oliver Boberg castaneda/reiman Exene Cervenka Sophie Crumb Lia Halloran Ryan Humphrey Maria E. Pineres Timothy Tompkins Michael Velliquette
COV E R Brion Nuda Rosch Side Portrait on Half Plinth 2014 Acrylic on paper and wood 61 × 18 × 7 in INS I D E Matthew Craven YELLOW JUNGLE: new(Landscapes) 2014 Found images on found book pages on found paper 40 × 31 in B AC K Russell Tyler YAJA 2014 Oil on canvas 24 × 24 in
The three artists exhibited are each influenced by history and its impact on our future. They embrace today by working with materials and processes that seem to forgo current trends and technologies in art. In M AT T H E W C R AV E N S ’s work, archaeological remains and ruins act as backdrops for forming crypto-historical collages and drawings. Images from lost cultures, relics and landscapes both well-known and extremely ambiguous create the patterns within the works. The results are compositions that highlight a new connection to our past in an aesthetic that is intended to be both cinematic in scope and visionary in perspective. As a civilization, we are left with a puzzle of strange pieces. Craven’s work combines these puzzle pieces into a new framework to view our combined history. By deconstructing or rearranging the commonplace, B R I O N N UDA R O SC H’s collage and sculptural works heighten awareness, jarring the viewer out of an object’s or photograph’s sense of embedded context. Mundane materials such as found book pages, wood, concrete and recycled house paint are slightly or humbly altered. Small adjustments, such as additions or subtractions to found book pages, create seemingly impossible situations. The collaged images dictate and negate form and content and the monumental and un-monumental. Sculptures employ rugged materials and abbreviated painting as anthropomorphic stand-ins. Rosch’s processbased works are monuments for the everyday. RU S S E L L TYL E R is influenced by the crude digital landscapes of outdated 8-bit graphics and the utopian visions of 1960s and 1970s science fiction films. Tyler’s paintings speak to the influence of the fantastic promises of the once newly born Space Age and the glittering, unrealized premises of science fiction. The digital chunkiness of 8-bit imagery finds its analogue in Tyler’s heavily impastoed, geometric constructions, suggesting the use of technologies after their heyday and the nostalgic references which failed to deliver.