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Luis De Jesus Los Angeles
UNTITLED. 2014 OPENS TODAY! Featuring Nathan Gluck, Kate Bonner, Margie Livingston, Matthew Carter, and Molly Larkey in booth B10.
OCEAN DRIVE & 12TH STREET, MIAMI BEACH
OPEN TO THE PUBLIC:
December 3, Wednesday - 3pm - 7pm
December 4, Thursday - 11am - 7pm
December 5, Friday - 11am - 7pm
December 6, Saturday - 11am - 7pm
December 7, Sunday - 11am - 4pm
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 Nathan Gluck, Zig Zag Art World, 1999, collage, 11 x 8 in / 28 x 20 cm
Nathan Gluck
Nathan Joseph Gluck achieved acclaim as Andy Warhol's studio assistant during Warhol's pre-Pop period (early 1950s through early 60s). Gluck played an instrumental role in helping to shape and create many of Warhol's most famous drawings, ads and designs. He also assisted Andy with his early transitional Pop pieces (1960-1963), before Warhol established The Factory. In his book, Warhol: Conversations about the Artist, Patrick S. Smith writes: "Nathan Gluck's work may be considered as being synonymous with [Warhol's] commercial art. In fact, it is almost impossible to separate Nathan Gluck's "Warhols" from Warhol's "Warhols".
Nathan Gluck, Ceci est le gant et le gant, 2000, collage, 10 x 8.5 in / 25.4 x 21.6 cm
Over the course of 70 years Gluck produced hundreds of original collages in which the classical, modern and commercial worlds collide, capturing a witty and joyous youthfulness that belies his age (he died in 2008 at the age of 90). The New York Times chief art critic Roberta Smith writes: "Composed of a staggering variety of printed ephemera and combining a range of printed detritus - from around the world and the past several decades - these works play on words, forms, colors and, above all, on styles. Their vintage is sometimes Belle �poque, sometimes the swinging 60s and sometimes the dubious fin de si�cle, as well as the very playful and satirical use of more recent imagery from the age of cell phones and the Internet." And Graham Shearing, art critic, The Pittsburgh Tribune-Review, writes: "Nostalgia is a risk in collage, but Gluck's ironic sense of humor prevents them from ever becoming cloying. Camp they indeed are. Above all, Gluck's work is fastidious. The scraps of paper are meticulously arranged on the sheet - his color is fearless." This will be the first time that Nathan Gluck's collages are presented at an art fair.
Nathan Gluck, For Successful Living, 1999, collage, 11 x 8 in / 28 x 20 cm
Nathan Gluck is featured as one of the artists not to miss in New York Magazine's forthcoming Guide to Art Basel Miami 2014. Nathan Gluck graduated from Pratt Institute, Brooklyn, and also attended the Cooper Union and Art Students League in Manhattan, where he lived for most of his life. His works are in the collection of the Museum of Modern Art, Andy Warhol Museum, Denver Art Museum, the La Jolla Athenaeum of Music and Arts, and numerous private collections. The Estate of Nathan Gluck is represented by Luis De Jesus Los Angeles.
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Kate Bonner
Discarding any distinction between sculpture, photography, and installation, Kate Bonner treats the photograph as both an object and a process with the ability to engage and manipulate physical reality. In this sense, the photograph is not simply an object on a wall, in space - delineated by square edges and singular surface - but an active agent with the capacity to shape the physical space in and around it. In her work, the photograph moves beyond its traditional function to capture an image representing an object or moment "frozen in time", to a condition of a reality in flux.
Kate Bonner, Out of another one, 2014, digital prints on MDF, 68 x43 in / 173 x 109 cm
By inverting the primacy of the image and subverting the narrative aspect of photography, Bonner's work explores new territory in the photography-sculpture relationship - not simply by the way in which the photograph affects our experience of the image but in the experience of the physical environment that it engages. Bonner began this process of questioning with progress shots and reference photos of drawings and paintings. In these off-frame photos, and later scans and photocopies, she sought out objects that could operate as mere objects rather than narrative symbols.
Kate Bonner, Every point is the center, 2014, digital print mounted on MDF, 35 x 30 in / 89 x 76 cm
The images drift into corners; they are tracked in from outside. Each work has a front and a back; mounted rather than framed, they operate like snapshots - folding, bending, leaning. There are borders and frames inside the image, while cuts and folds in the work turn the room into an even larger frame. Bonner's basic approach to photography is one of resistance - a certain level of anarchy toward prescribed patterns, set movement and defined structures. It offers opportunities to expand and broaden the space in which - and how - one experiences phenomenal appearances and thoughts.
Kate Bonner, An effect like fast forwarding, 2014, digital prints on MDF, 75 x 55 in / 190.5 x 140 cm
Kate Bonner received her MFA from California College of the Arts in 2012. In May 2014, Kate Bonner presented Possible Event at Luis De Jesus Los Angeles, and the gallery also featured her work at Paris Photo Los Angeles. In 2013, Bonner was included in NextNewCA, a survey of selected MFA graduates at the San Jose Institute of Contemporary Art. She also participated with Luis De Jesus Los Angeles in the group exhibitions The Road and for all intents and purposes. She is currently featured in SculpureCenter's Sculpture Notebook and will be included in the forthcoming issue of New American Paintings. Bonner has exhibited at The Wattis Institute for Contemporary Art, San Jose Institute for Contemporary Art, Queens Nails, The Popular Workshop, Important Projects, Et al Projects, and NADA New York, among others.
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Margie Livingston
Margie Livingston's desire to liberate painting from illusion and free herself from the limitations of traditional painting pushed her to articulate and embrace an entirely new approach to making work. Since the mid-2000s she has been pouring paint, layering it, cutting it, and breaking it apart in order to construct "paint objects" that are images of their own making - hybrid works that shift back and forth between sculpture and painting as well as abstraction and representation.
 Margie Livingston, Body of Work, 2014, acrylic paint skins, wood, metal, 58 x 81 x 12 in / 148 x 205 x 30 cm
Inevitably layered with personal history, Livingston's work also has art-historical connections - from Frank Stella, Donald Judd, Carl Andre, and Sol Lewitt to Lynda Benglis, Eva Hesse, and Linda Bessemer - which she subverts, challenges, and recontextualizes. The gesture of individual expression, the "mythic/heroic", and even the autobiographical and craft bias of much historical feminist artwork is sliced by machinery or obliterated by layers of accident, collaboration, and carpentry skills that draw attention away from the hand of the artist and toward the process itself.
Falling Grid with Under Painting, 2014, acrylic paint and string, 60 x55 x 9 in / 152 x149 x 22 cm
Falling Grid with Under Painting, 2014, is made from over 600 feet of string covered with several gallons of acrylic paint. The string grid emphasizes the Renaissance grid of perspective in real space and mimics the traditional method of starting a painting with darker colors and adding white in the final layers. In Body of Work, 2014, Livingston combines the aesthetic language of painting with the utilitarian language of crating. Employing acrylic paint skins (instead of traditional canvas) emphasizes its material mutability, and clamping a pile of paintings together with rough timbers and metal brackets foregrounds a part of her practice that is usually hidden - the packing, crating, shipping, and schlepping of work from place to place. The white paintings reach back to precedents by Rauschenberg, Ryman, and Guston but also recalibrate her use of color.
Margie Livingston, Draped Painting #11, 2014, acrylic paint skin, 27 x 10 x 9 in / 68.5 x 25 x 23 cm
Margie Livingston's work is included in the permanent collections of the Shenzhen Fine Art Institute, Seattle Art Museum, Tacoma Art Museum, Eugenio Lopez Collection, Los Angeles; Joel and Zoe Dictrow Collection, New York; and numerous other private and public collections. Margie Livingston received her M.F.A. in painting from the University of Washington and was awarded a Fulbright Scholarship in 2001, a period she spent living and working in Berlin. Other awards include a 2011 Artist-in-Residence at Los Angeles Contemporary Exhibitions (LACE), the 2010 Neddy Fellowship from the Benkhe Foundation and the 2010 Arts Innovator Award from Artist Trust (funded by the Chihuly Foundation), a 2008 Artist-in-Residence at the Shenzhen Fine Art Institute, and the 2006 Betty Bowen Memorial Award.
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Matthew Carter
Matthew Carter's newest paintings are a reminder that traditions of figuration and abstraction - though often treated as trends or movements supplanting one another throughout modern art history - are traditions of simultaneity. This is most eloquently manifested within Carter's use of the harlequin pattern, which refers to the garb but can also be read as an abstraction or a stand-in for the figure.
Matthew Carter, Dead Ringer, 2014, acrylic, glitter, graphite, linen and wood, 47 x 32 in / 119 x 81 cm
Painted in acrylic and glitter on a transparent raw linen, the paintings in his hellequinharlequinclown series are built by cutting sections of reclaimed stretcher bars and fastening them the way one might sew together pieces of old fabric. Although the painterly logic of the image must reckon and wrestle with this irregular, almost abject physical form, the harlequin pattern-as-surface is also deployed as a conceptual framework for Carter's entire body of work. Evidence of this is this assertion that "pattern, as well as the defunctness of the thin profile bars, is embedded within the DNA of each painting."
Matthew Carter, Trick, 2014, acrylic, glitter, graphite, linen and wood, 47 x 32 in / 119 x 81 cm
In the same way that harlequin masks and costumes give license for the audience to gaze at the figure, the reflectiveness of the glitter and transparency of the linen allow the viewer to "look through" many of the works, catching only glimpses of the clown-like gestures and iconography that are never explicitly revealed. Once again, the material makeup of the pieces leads to their abstraction; the images' mobility and their proclivity towards advancing and receding from view parallels the temporality of the harlequin, hellequin and clown as identities within civic and performing culture.
Matthew Carter, Acid Bath, 2014, acrylic, glitter, graphite, linen and wood, 54 x 33.5 in / 137 x 85 cm
Matthew Carter lives and works in Los Angeles, CA. He was born and raised in Moline, IL, and received his BFA from Southern Illinois University Carbondale in 2005 and his MFA from Otis College of Art & Design, Los Angeles, in 2010. His work has been featured in solo and group exhibitions at Luis De Jesus Los Angeles, the 2013 MexiCali Biennial, Vincent Price Art Museum, Los Angeles, CA; Los Angeles Contemporary Exhibitions (LACE); Torrance Art Museum, Torrance, CA; Bolsky Gallery, Otis College of Art & Design, Los Angeles; and California State University Long Beach, Long Beach, CA.
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Molly Larkey
Molly Larkey's work explores the ways that a simple line can form an object. Larkey's objects are dynamic, incorporating aspects of painting, sculpture, language, and architecture. It also examines her interest in the idea of an "imaginary" language by exploring the very form of language - letters, symbols, words, drawing, writing - as the basis for her sculptural and painted works.
 Molly Larkey, Pragmatic Utopia #4, 2014, steel, linen, acrylic paint, 120 x 48 x 28 in / 305 x 122 x 71 cm
The idea of an imaginary language can be seen in relation to modernism and the utopian ideals around the various modernist movements, which related art and aesthetics to a vision of an alternative form of society. It imagines art as an alternative kind of language with the power to alter our ability to communicate, opening up different ways of apprehending and describing the world, and changing how we function in the world. Larkey's language of forms proposes a system of mutable signs that does not conform to the mandates of cultural logics, and, particularly, not the didactic, categorical, and historically exclusionary male-centric model of 20th century modernism.
 Pragmatic Utopia #6 (right), 2014, steel, linen, acrylic, 120 x 48 x 29 in / 305 x 122 x 71 cm
Her new steel wall objects literally change shape depending on where one is standing in relation to them. Wrapped in linen, painted, and hung on the wall, they are clearly meant to be read as paintings, yet they refuse to be fixed or held down into one category of meaning or signification. They are dynamic and require the viewer to look at them with a dynamic, open frame of mind.
 Molly Larkey, Changes hourly, 2014, acrylic and mix media on burlap on panel, 20 x 16 in / 50 x 40 cm
Molly Larkey (b. 1971, Los Angeles) lives and works in Los Angeles, CA. She received a MFA from Rutgers University, New Jersey, and a BA from Columbia University, New York. Her work has been featured in exhibitions at PS1 MoMA, New York; The Saatchi Gallery, London; LACMA, Los Angeles; The Drawing Center, New York; Horton Gallery, New York; Ochi Gallery, Ketschum; and Samson Projects, Boston, among others.
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Zackary Drucker and Rhys Ernst's RELATIONSHIP
In addition, the complete portfolio of 65 photographs of Zackary Drucker and Rhys Ernst's RELATIONSHIP series will be available for inspection.
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For further information, please contact Luis De Jesus at 310-838-6000
or email: [email protected]
Luis De Jesus Los Angeles
2685 S LA CIENEGA BLVD
LOS ANGELES, CA 90034
T 310 838 6000
LUISDEJESUS.COM
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