On 8 January 2016, Mary Boone Gallery will open at its Fifth Avenue location
Lime in the Coconut, an exhibition curated by Piper Marshall of works
by ZAK KITNICK.
I like zooming in and out.
Isolating parts of images, adding duration.
Extending, unpacking, and diluting.
I like a convention that can be applied regardless of content.
- Zak Kitnick, 2015
Zak Kitnick redeploys and transforms objects and tools usually associated with sorting, ordering, and filtering. Screens, shelving, packaging, and taxonomic posters are used to transport meaning and refocus us onto a contemporary rethinking of how information and order have been transformed in our post-industrial, technologically managed lives.
For the exhibition, Lime in the Coconut, the artist gives special attention to two rationales of operation: concentration/dilution and expansion/ contraction. The result is a series of work that utilize metaphors of produce to frustrate modes of production and dissemination.
In one gallery, Kitnick has produced a series of works that transform industrial shelving. Alleviating the form from its function, Kitnick repurposes the shelving, collapsing it flat as if for shipment. The load-bearing surfaces, offered to the viewer as both substrate and storage, reframe a commercial image depicting a green olive branch. These pixilated images note their commercial print origin and emphasize the journey from information to image. Lining the walls, the resulting works are arranged in thirteen permutations. A series of approaches emerge: cuts, crops and enlargements. In their varied organization, these works simultaneously perform and stutter digital flows.
For the other gallery, Kitnick produced new works exploring the possibility of expanding without diluting, and contracting without concentrating.Researching the culture of constructed product shots and organic metaphors, he has focused on the structure of the “blooming onion”, an onion that has been cut into the form of a deep-fried flower. Like the olive branch, the “blooming onion” is a symbol of celebratory decoration made for sharing. A hand-crafted onion never looks as good as its simulation. Heightening this perceptual gap, Kitnick has produced bronzes derived from idealized product shots.
Kitnick is an artist who selects, alters, and arranges images and objects with new operating procedures. The exhibition reveals new approaches that demonstrate the way information rubs against information, images find new surfaces and the real is reconfigured in an age of false starts.
The exhibition, at 745 Fifth Avenue, is view through 27 February 2016. For further information, please contact Ron Warren at the Gallery, or visit our website www.maryboonegallery.com
Honor Fraser Gallery is pleased to present Brenna Youngblood's third exhibition with the gallery. The exhibition will be on view January 16 through February 20, 2016 with a reception for the artist on January 16 from 6-8pm.
Exploring the materials and techniques of painting, photography and collage, Brenna Youngblood flirts with the narrative potential of abstraction by combining mediums within the picture plane. Often conveyed via simple compositions, Youngblood's ideas about the documentary capacities of both painting and photography emerge bit by bit from her elaborately layered and textured surfaces. Like palimpsests of meditations on the human condition, the paintings raise existential questions: What is the nature of desire, of fear? What does it mean to have a body? How do we reckon with mortality?
By incorporating her own photographs and using found images and objects as collage materials within her paintings, Youngblood acknowledges the space of painting as such, asserting the canvas as both an object in its own right and a space within which images are presented and meaning is created. From the thinnest wash of pigment to thick impasto to scumbled hues, Youngblood's paint is alternately assertive and shy, layered with collage elements that compete for attention. Her union of painting and photography challenges both the status of painting and photography's claims to veracity. Embracing the tradition of bricolage, Youngblood's canvases often exceed their limits: Collaged paper buckles up from a surface; paint extends from the picture plane onto a wooden artist's frame; found signs, grocery bags or even architectural elements like duct vents blend seamlessly into her compositions.
On large double canvases, Youngblood uses repetition to create an expansive visual field. Her canvases of brightly hued, stenciled images (dollar signs and air freshener trees are common in her vernacular) connect her paintings to both Abstract Expressionism (in their non-hierarchical, all-over compositions) and Pop (with their acid colors and familiar images) while remaining rooted in the present tense. As an ongoing series, the paintings posit a doubling down on the repetitive impulse. Despite the repetition of the image, the method Youngblood uses to apply the paint assures that no two stenciled images (and therefor no two paintings) are exactly alike, suggesting the concept of a social body in which each individual is both herself and a member of a community.
Youngblood is the 2015 recipient of the Jacob Lawrence and Gwendolyn Knight Prize. The one-person exhibition commemorating the award is now on view at the Seattle Art Museum through April 17, 2016.
Brenna Youngblood was born in Riverside, California and lives in Los Angeles. Youngblood received a Bachelor of Fine Arts from California State University, Long Beach in 2002 and a Master of Fine Arts from the University of California, Los Angeles in 2006. Honor Fraser Gallery has presented two exhibitions featuring Youngblood's work to date: The Mathematics of Individual Achievement (2011) and Activision (2013). One-person exhibitions of her work have been presented at the Seattle Art Museum, Seattle, WA (2015); Pomona College Museum of Art, Claremont, CA (2015); Contemporary Art Museum St. Louis, MO (2014); Wignall Museum, Rancho Cucamonga, CA (2007); and the Hammer Museum, Los Angeles, CA (2006). Her work has been included in thematic exhibitions such as Hard Edged, California African American Museum, Los Angeles, CA (2015); Selections from the Permanent Collection, Museum of Contemporary Art, Los Angeles, CA (2014); Rites of Spring, Contemporary Arts Museum, Houston, TX (2014); Murmurs: Recent Contemporary Acquisitions, Los Angeles County Museum of Art, Los Angeles, CA (2013); Fore, The Studio Museum in Harlem, New York, NY (2012); Made in L.A., Hammer Museum, Los Angeles, CA (2012); Unfinished Paintings, Los Angeles Contemporary Exhibitions, Los Angeles, CA (2011); With You I Want to Live, Fort Lauderdale Museum of Art, Fort Lauderdale, FL (2009); and California Biennial, Orange County Museum of Art, Newport Beach, CA (2008).