My first California Collection photographs were more of a literal approach where I attempted to depict the actual beauty of the Pacific. With this second collection taken in August 2013, I wanted to capture a feeling of a moment; something less tangible and more ephemeral.
Kurt Ralske‘s video installations and performances enact a dialogue with history: an exploration of the past that proposes a new view of the future. His work has been exhibited internationally, including at the 2009 Venice Biennale, the Guggenheim Bilbao, and the Los Angeles Museum of Contemporary Art.
Kurt is the recipient of a Rockefeller Foundation Media Arts Fellowship, and received First Prize at the Transmediale International Media Art Festival in Berlin in 2003. Kurt programmed and co-designed the 9-channel video installation that is permanently in the lobby of the MoMA in NYC. He is also the author/programmer of Auvi, a popular video software environment in use by artists in 22 countries.
Kurt resides in New York City. He teaches at the graduate and undergraduate level at the School of the Museum of Fine Arts, Boston in the departments of Video, Sound, and Film.
The work of Les Ramsay.
**All images are from Les Ramsay’s website.
The work of Charline von Heyl in her current exhibition at Petzel Gallery in NYC. The exhibition will be up through October 5.
Charline von Heyl’s paintings are not abstractions of objects or figures; rather, she is interested in creating abstract images that stand for themselves. They are new pictures, composed inventions. Much like her previous work, they are further expansions (and revolutions waged) upon the bounds and rules set by the history of painting, in which abstraction stretches toward representation, image and non-image indecipherably integrate, and where the distinction between image and object dissolve.
A single abstract image is built of fragmentary glances of meaning and emotion. It contains a politbüro of shapes, colors, space, lines, narratives, and gesture that are constantly reshuffling their proposed hierarchies. Gestural marks and layers have given way to an intended structure of surface tensions. Space falls into, under and skates over itself, runs into obstacles, creates half-hearted illusions, and forgetting its purpose becomes image. Color is rendered ambivalent and unstable. It dissolves the image, shifts its shapes and often leads to a fleeting or teasing relationship to the spatial position of the viewer. Ultimately, composition has been sabotaged and its instability is held in the round rather than what seemingly constitutes its center. With speed, the painting’s surface reveals a myriad of contradictions and reversals, color refractions, intentional confusions, and ultimately requires (and desires) careful looking.
**All images and italicized text is from www.petzel.com
Robin Cameron lives and works in New York City. To see more of her work visit her site.
Stewart is a Melbourne based artist. To see more of her work visit her website.
Michelle Fleck is a painter living in San Francisco. She studied fine arts at San Francisco State University. She graduated in 2009 and continues to create and show her work.
Her work focuses on the relationship between man and the landscape. She is interested in our desire to replace what is old and dated, and how that manifests itself in the urban landscape. Influenced by everyday life in the city, her paintings serve as snapshots of an ongoing cycle of wear and replacement, showing our constant reinvention of the landscape around us, and the marks we leave upon it. Her hope is that these pieces have a sense of relevancy in a culture driven by a need for change and newness.
*Michelle’s website here.
**Michelle on LPP here.
The work of Iván Navarro.
**All images are from paulkasmingallery.com
The work of Zander Blom. He is currently showing at Stevenson Gallery in Johannesburg through September 28, 2013.
Blom describes the current state of his practice:
In painting there are many roads or directions one can take. So far I’ve been spending my time here as a drifter, exploring as many roads as I can, taking in the environment and savouring the moments. I’m perpetually trying to find out what more the world of painting has to offer, and I often fantasise about the as-yet unrealised images that lie out there in abundance waiting to be discovered. By drifting I’m covering plenty of ground without rushing towards anything in particular. Some roads meander along for a while and then turn off onto huge highways or intersections. Some roads lead to dead ends, or to walking around in circles. Often one has to cut through big empty fields or valleys, getting your boots muddy, to get to a road that may take you somewhere interesting. It’s not uncommon for a promising looking road to turn out to be a tedious bore, and to find oneself quickly veering off in a different direction. This is not to say that any one road is necessarily better than another. The most compelling results often come from walking along short dead-end roads or trekking through the mud. Besides, the measure of success for me lies not so much in individual works as in the depth and extent of the journey. It is exhilarating to see a map draw itself, or a story write itself, as you wander along looking for new possibilities.
Naturally, new exhibitions of my paintings consist of work from the most recent period, This simply means paintings that were made between this exhibition and the one preceding it. A period of work can consist of paintings from a web of different roads taken. This particular body of work, however, feels like one long snaking road with its own subtle peaks and valleys. A specific strain of mark-making wanted to develop. It started out as rigid grid-like arrangements of thick smears or dabs of oil paint roughly applied to canvas with a small pallet knife. These marks that initially read as crude static binary code are starting to evolve into hives, forming clusters of swarming constellations. Complex organic swirls are coming to life, begging to become solid and then threatening to dissolve and disappear again.
Last year’s feverish, almost violent desire for simplicity and a narrowed focus seems to have opened up into a space of subtle dematerialisation. Solid shapes and large masses are gently breaking down into smaller particles, forming soft textures and dissolving into the picture plane. Colour is back on my pallet knife but the agitated, almost offbeat colours and smeared particles of works from a couple of months ago have already given way to a softer, gentler, lighter mood, closer in spirit to that of French Impressionism. I’m rediscovering artists such as Seurat, Pissarro, Van Gogh and especially Monet with his cathedrals and water lilies. In the spirit of this calm atmosphere, I’ve allowed music to occupy a much larger space in my universe than usual. Currently half of my working days are spent experimenting with free-form composition either on the piano or electric guitar and drums in my little music room, while the other half is spent painting while listening to piano sonatas. Musical terms like tone and rhythm suddenly seem important in my painting and a direct relationship between the two forms has become visibly and audibly apparent. Some paintings appear to look like musical notation or scores, while my musical experiments are becoming more abstract, minimal and refined. The two forms seem to be growing towards each other.
At this moment it feels like this particular road could snake along forever and yield many interesting results. There seem to be no blind alleys, no forks or intersections in sight. However, like all roads this one will no doubt end, quite abruptly, at some point, giving way to something entirely different. So for now I’m simply strolling along enjoying the flow and the scenery, because this moment has to be seized and painted out before it is over. It won’t be long before the road spits out into all sorts of new directions.
**All images and text are from www.stevenson.info
Uta Barth is a contemporary photographer based out of Los Angeles. See more work here.