9.07.2011

Poëma :: The Netherlands

Opening September 25
Kunst-Element
Irenelaan 18   5583 AD Waalre, The Netherlands
www.kunst-element.nl


Kate Beck    Essential Structure  121.9 x 226.1cm Poured Oil, Graphite on Aluminum, 2011



Kate Beck   Modulations (s) 30.5 x 30.5cm  Graphite on Paper on Aluminum, 2011

6.28.2011

MAINE DRAWING :: Ogunquit Museum of American Art









July 1- August 21
The Question of Drawing
In the Sculpture and Long Galleries

The Question of Drawing examines the varied and adventurous definitions of what contemporary drawing can be. From paper to canvas to new media, the exhibition features artists who push the parameters of what is acceptable as a drawing, including:  

Kate Beck      Gideon Bok   Lesley Dill    Julie Featheringill    William Kentridge   Joyce Kozloff   Sol LeWitt    Julie Mehretu    Cobi Moules   Martin Ramirez   Kiki Smith   Andrea Sulzer   

This exhibition is part of Where to Draw the Line: The Maine Drawing Project, a collaborative exhibition project of almost two dozen Maine museums and galleries.

Opening Reception Saturday July 2, 2011  5-7pm


Tuesday, July 26, at 7 pm 
The Question of Drawing   An illustrated lecture by artist Kate Beck.

Maine artist Kate Beck’s work is included in   the OMAA exhibition “The Question of Drawing.” Her work reflects her interest in “(the) pure aesthetic of line as an element of both color and substance with a wide range of thought and feeling.” The artist will speak about her work in drawing and the significance of drawing in a contemporary art context. Widely exhibited, Kate has had recent solo exhibitions at the Pelavin Gallery in New York City, Icon Contemporary Art in Brunswick, Maine and Kunst-Element, Waalre, The Netherlands.
Ogunquit Museum of American Art, 543 Shore Road, Ogunquit, Maine 207-646-4909

6.16.2011

Marked Differences :: Selections from the Kentler Flatfiles


ARTISTS: David Ambrose, Kate Beck, 
Hedwig Brouckaert, Catalina Chervin, Stephen Cox, 
Ellen Driscoll, Elizabeth Duffy, Abby Goldstein, 
Marietta Hoferer, Toine Horvers, Nene Humphrey, 
Mary Judge, Elise Kaufman, Michael Kukla, 
Robert Lansden, Dawn Lee, Peter Matthews, 
Jim Napierala, Morgan O'Hara, Gary Petersen, 
Sherae Rimpsey, Viviane Rombaldi Seppey, 
Donna Ruff, Sepideh Salehi, Andra Samelson, 
Claudia Sbrissa, Peter Schroth, Emna Zghal

June 3 - July 24, 2011      
Open free to the public: Thursday - Sunday, 12 - 5pm



Join us for Roberta Waddell's Curator Talk
Saturday, June 18, 4pm
    
Roberta Waddell's selection of 49 works from the Kentler Flatfiles by 28 artists suggests the diversity of mark-making languages and media in drawing today.





"Artists of all stripes and practices in recent years have mixed and combined media--painting, drawing, photography, printmaking, digital processes, film and sculpture--in ways that defy easy categorization. Inherent in the autographic touch of a drawing, however, there is consistently an intimacy and freshness that encourage quiet study and close examination."
- Roberta Waddell  



The Kentler Flatfiles were founded in 1990 as an essential element of the gallery.  The Flatfiles, a compendium of artworks by over 160 artists, have become an important resource for artists, collectors, curator and the general public by stressing the importance of drawing and work on paper in contemporary art today.  The Flatfiles are located behind the gallery and are available for viewing by appointment.  



Roberta Waddell was Curator of Prints at the New York Public Library from 1985 until 2008 after serving as Curator of Prints at the Worcester Art Museum, and Curator of Graphic Arts at the Toledo Museum of Art. 

A brochure with an essay by Roberta Waddell accompanies the exhibition.  


KENTLER INTERNATIONAL DRAWING SPACE
353 Van Brunt Street(Red Hook) Brooklyn, NY 11231
718.875.2098   info@kentlergallery.org    
Open free to the public: 
Thursday - Sunday, 12 - 5pm
Promoting drawing and works on paper since 1990





6.01.2011

Field Guide to Getting Lost :: Pelavin Gallery, TriBeCa


Kate Beck  Canyon.White, II   
Poured Oil, Graphite on Linen, 84 x 60 inches   2010
with Timothy Paul Myers, Mark Safan and Jean-Paul Cattin

Pelavin Gallery
13 Jay Street
New York, New York 10013
212.925.9424 voice  646-709.4781 mobile

Continues through 3 September 2011

5.16.2011

Field Guide to Getting Lost :: Opens May 26 Pelavin Gallery, TriBeCa


Margaret Neill
Prospectus (Series) 5, Pencil on Paper, 23.5x38 inches, 2010


Fiona Robinson
Unstable Horizon 5, Oil, Charcoal, Graphite on Canvas, 30x40 inches, 2011


Cecilia Vissers
Gaoth, (four part)  84x77x1cm, each, Anodized Aluminum Panels, 2010



Kate Beck
Canyon,White,II,  Poured Oil, Graphite on Linen, 84x60 inches, 2010

5.06.2011

A Field Guide to Getting Lost :: May 26, TriBeCa




Karl Klingbiel  The Hunter's Sleeve

A FIELD GUIDE TO GETTING LOST: CURATED BY TODD MASTERS
Opening Reception Thursday 26 May, from 6 - 8 PM.
Continues through 3 September 2011 
 
In commemoration of the institution’s thirty year anniversary, Pelavin Gallery is proud to announce a group exhibition of gallery artists based on the cultural historian Rebecca Solnit’s book of essays, A Field Guide to Getting Lost. Using Solnit’s meditation on the pleasures and terrors of getting lost as a premise, this show seeks to present a collection of works which entices “the wideness of the world” and the virtues of being open to new and transformative experiences. Curated by Todd Masters with the intent of celebrating the gallery’s new diverse program, a variety of media will be shown—installation, wall drawing, mixed-media, painting, photography, drawing, sculpture, collage—and a number of gallery artists represented, including: Kate Beck, Jean-Paul Cattin, Tara Fracalossi, Patricia Gaeta, Dima Gavrysh, Karl Klingbiel, Norman Mooney, Timothy Paul Myers, Margaret Neill, Fiona Robinson, Mark Safan and Cecilla Vissers.
 
The exhibition of A Field Guide to Getting Lost, like Solnit’s essays, advocates the importance, for any creative act, to allow the mind and body to wander. Throughout the show, the artists’ personal and professional wanderlust is showcased through the implementation of layering, repetition and unique use of materials. Viewers are presented with such assorted works as a thirteen foot installation of meticulously hand-cut graph paper by Patricia Gaeta; a multi-layered reductive painting of poured oil paint, graphite and mica on canvas by Kate Beck; a nine inch thick Lincoln Library filled cover-to-cover with daily ink drawings by Margaret Neill; and a plexiglass display case filled with a collection of hundreds of pages covered in hand typed dollar signs by Timothy Paul Myers.
 
Solnit’s writing is often abstract, constantly interlacing personal reflections and cultural histories. She informs us that the word “lost” derives from the Old Norse for disbanding an army and extrapolates from this the idea of striking “a truce with the wide world.” Alluding to the author’s literary methodology and references in the curation of this exhibition, Masters combines diverse styles and subjects by the twelve artists on display. One grouping of works ties together a Carbon Drawing by Norman Mooney created with the billowing smoke of a blowtorch; Dima Gavrysh’s Untitled night vision portrait of an American soldier in Afghanistan; Cecilia Vissers’ smooth and saturated anodized aluminum diptyich titled Gaoth; and Karl Klingbiel’s The Hunter’s Sleeve, an expressionistic oil and encaustic on board that showcases a depth of divergent palettes and textures.
 
Blue, in concept and color, is an important character in this exhibition as the idea of disorientation—“Blue is the color of longing for the distance you never arrive in.” The alternating chapter titles in Solnit’s book of essays, The Blue of Distance, is a point of reference for several works in the show. Fiona Robinson’s atmospherical Unstable Horizon displays layers of mirage-like lines of a shifting horizon, while Tara Fracalossi’s site specific installation of photographs—mounted to the walls of a narrow hallway in the gallery—presents the viewer with various sea and sky scapes from the artist’s daily documentation of her everyday life. Other works focus on the discussion of the distance and disembodiment of Blue—Mark Safan’s oil on canvas depiction of a torn cloudscape and Jean-Paul Cattin’s abstract c-print of Motel de Founex both play with ideas of nostalgia, longing and loss—illustrating Sonit’s conclusion that “to be lost is to be fully present, and to be fully present is to be capable of being in uncertainty.”
 
For more information please contact the gallery at 212.925.9424 or gallery@pelavingallery.com
Pelavin Gallery 13 Jay Street New York NY 10013
       





       

2.25.2011

Spacial Investigations :: Anne Lindberg

Anne Lindberg’s raume yellow at Nerman Museum of Contemporary Art, Kansas


" Everyone flocks to Anne Lindberg's raume yellow, even though it's nothing more than thread, staples, and o-hooks... this work shows how simple repetition of simple material is enough to send our vision trembling ecstatically. " 
       -Elizabeth Shurman, in Review, January 2011
  
Anne Lindberg, raume yellow, 2010. Egyptian cotton and staples. Installation view of Museum Interrupted at the Nerman Museum of Contemporary Art, Overland Park, Kansas. Courtesy of the Artist. Photo: EG Schempf, 2010.

In her large scale drawing and sculpture, Anne Lindberg  procures line as an element configuring real space, making it universally sensible, plausible -- as drawing is.  Her large scale works are fields of marks developed as a system that slowly accumulate to create an abstract matrix of perception -- provoking emotional, visceral and perceptual response. Raume yellow is evidenced  as an eloquently charged body, physical yet ephemeral.  The repetitive release-and-stop of the threads existing in immediate relation with the architectonic structure of the space to which they adhere is ... poetic genius... and becomes the sustaining element of this work.


Anne Lindberg, raume yellow, 2010. Egyptian cotton and staples. Installation view of Museum Interrupted at the Nerman Museum of Contemporary Art, Overland Park, Kansas. Courtesy of the Artist. Photo: EG Schempf, 2010.

In her own eloquent articulations:


As Alexander Theroux says, yellow, for all its dramatic un-alterability, is a color with thousands of meanings - light and spirit to illness and bananas.  Wallace Stevens said yellow was the “first color” while he also suggests its’ association to decay and dissolution, and an affirmation that it is the color of sun.  

I found myself recently under a brilliant blue tent eating a juicy yellow/orange peach. When I returned back to my studio, I immediately decided to build a version of my ongoing graphite line drawings in space, in yellow. It only seemed to make sense. Luminosity was connected.

Neurologists have determined that the old brain holds the seat of our most primal understandings of the world. Goodwill, safety, fear, anxiety, self protection, gravity, sexuality and compulsive behaviors find their basic roots in this lower cerebral core.


Anne Lindberg, raume yellow, 2010. Egyptian cotton and staples. Installation view of Museum Interrupted at the Nerman Museum of Contemporary Art, Overland Park, Kansas. Courtesy of the Artist. Photo: EG Schempf, 2010.

Raume, from the original German word rumi, really does not have a satisfactory translation into English. It could be Chamber, a primary medium of architecture; Volume, a length, width and height set in a wide expansion; Space, physical space as a container of all things, Universe, a not rigidly limited physical expansion, or Area, a philosophical form of intuition. This raume yellow is both a volume of raume and passage through raume.

Using just a single material, Egyptian cotton thread, the other major elements in this work are staples and tension. With this taut horizontal passage of tens of thousands of lines, I am seeking a raw mysterious form that greets us as an abstraction - optical and immaterial.

Anne Lindberg, raume yellow, 2010. Egyptian cotton and staples. Installation view of Museum Interrupted at the Nerman Museum of Contemporary Art, Overland Park, Kansas. Courtesy of the Artist. Photo: EG Schempf, 2010.

The structure and body of raume yellow is really quite simple, yet its associations and visceral cues are complex.  I am interested in an indeterminate state and therefore also an intangibility.  In making this work, my curiosity gravitated toward conditions and phenomena of architecture, light, optics, body, tactility, textile, and space as well as the myriad associative symbolism of the color yellow.  The internal structure of this form is difficult to comprehend and collect at any given moment or vantage point. I’m intrigued that the lines appear suspended, and difficult to grasp, as if drawn by light in an effortlessness that does not speak to the process. This work is indexical of my graphite drawings yet without the connection to hand-making.  It’s almost as if it is a natural 
phenomenon.

raume yellow is a drawing in space and a collection of marks & shadows on the wall. I frequently return, in all of my work, to the subtle distinction between drawing as noun and verb as a long held focus in my studio practice. This blurred distinction drives my fascination with an expanded definition of drawing languages and the resurgence of drawing in contemporary art. My collective body of work is an iteration of this language - a reassertion of the age-old desire to understand self in place.

-                                                                                                                                                                                                          -Anne Lindberg, September 2010


        Thank you, Anne



1.18.2011

FLUXUS :: ensemble et al


In a Crowded Room with Nothing to Think About

A melancholy, simple, meditative composition written by Ron Tucker 
for his chamber percussion group, 

In a Crowded Room with Nothing to Think About by waltertucker



Ron Tucker
with my painting, Anxieties + Alienations
and a nice shirt...




ensemble, et al. is a Brooklyn-based pseudo-classical percussion ensemble

performing their debut here at Pelavin Gallery
during my solo exhibition, Conditions of Existence, October 2010 

I am so honored and pleased to share this with them




The group combines the structure and instrumentation of classicism and modernism with an 
emotional aesthetic commonly heard in post-punk-indie rock. 

melancholy...  meditative...  reflective...  minimal...

...a perfect flow...



Inspired by artists such as amiina, Clogs and Rachel's and influenced by contemporary 
composers like Arvo Part, Philip Glass and Steve Reich, ensemble, et al.'s music aspires to be 
simple, intimate, elegant and delicately beautiful. 




Thank you, Ron