August 17th, 2012
Artists: Lizzi Bougatsos, Michael DeLucia, Lizzie Fitch, David Gilbert, Robert Overby, Andra Ursata
Venue: Andrea Rosen, New York
Date: July 12 – August 21, 2012
Full gallery of images, press release and link available after the jump.
Images courtesy of Andrea Rosen, New York
Each summer provides us with an opportunity to curate an exhibition with artists whose work we find particularly compelling and to provide ourselves with an opportunity to live with that work. For the exhibition we pursued work that is formally fresh and simultaneously radiating content and ideas. While the show was not originally thematically driven, it became quite clear that even across such different media and techniques, the works in the exhibition all address the differences between three-dimensional space and two-dimensional representation and in that questioning begin to collapse the boundaries between material and fictive space and the imaginary and the real. Even as each artist maintains his or her own territory, this idea has become the unexpected core of the exhibition and we then were specific about selecting works by each artist that emphasized this relationship. For instance, by being installed in quantity on the floor, Andra Ursuta’s work Ethnic Bimbo, 2012 transforms cards printed with a photographic image into a work that has a spatial quality in the exhibition space and a phenomenological relationship to the viewer. Lizzi Bougatsos’ found poster works become sculptural in their incorporation of both found and hand made elements. While all of the pieces are quite formally resolved, each has an eccentricity that brushes up against the content of the work.
All of the artists in the exhibition work across varying media or make work that straddles different disciplines so while medium is intrinsic to each work, whether formally or conceptually, materials are not fetishized. This specificity of medium is a central value that has guided the gallery’s programing from its inception. In a time when it seems increasingly that artists have become obsessed with genuine yet meaningless gestures, we are especially pleased to have a show of work that is full of ideas and yet still evinces the hand of the artist without craft and labor becoming the sole subject of the work.
For each artist, we have attempted to have enough examples of his or her work to allow viewers an opportunity to feel as though they can have an understanding of the artist’s broader practice. In the process of installing the show, it became clear that we could have installed the works in a dozen ways with pairings and placement of different works highlighting a number of intended and unexpected juxtapositions that emphasize material, ideas about materials, and formal coincidences between works. Yet, as exciting as it is to see dialogues emerging between works by artists with very different conceptual and physical practices and to use this exhibition as a way to imagine other possibilities in this regard, ultimately for each of these artists we wanted to have an opportunity to more deeply engage with his or her work.