NEXT, NOW, THEN
Gashed with a sharp tool
Irritated by the application of caustic plant juices
Smothered by dark pigments such as ground charcoal and gunpowder.
Angled corner, butress and facade are marked this way.
Scarification turns the building’s outer surface into a timeless mouth-part.
A superb ephemeral gob for all the ages.
The Goss-Michael Foundation is pleased to announce the debut presentation in a US non-profit institution by London based artist, Ben Sansbury.
Whereas Sansbury’s work has often been marked by excess and singularity (one off works of hyperbolic collage, heavily overworked/handmade anthropomorphic masks and tableaux or large scale installation), this exhibition focuses on his ongoing experimentation with simplified, serially produced sculptural forms.
Careful meditations on the properties of various ‘unknown’ architectural structures, a field of freestanding monochromatic objects made from block-moulded plaster speaks not of the particular – but the universal.
To modulate, stack, pair and balance – that we might attribute these tendencies not just to these works, but to the Paleolithic menhir builder as to the high-modernist architect is to understand something about the eternality of the human mind: it’s contiguity-in-form.
The objects on display in this exhibition thus exist nowhere and everywhere in time. They are visions you see when you rub the closed lids of your tired eyes; the impossible flat-pack offices blocks that cajole the any-city-whatever. Your own old teeth sticking up from your head; the great wet dream temple of the Mesoamerican spirit vibe
Ben Sansbury lives and works in London. He studied at the Royal College of Art, London and has exhibited in galleries including: SPACE (solo), London, UK; The Baltic (solo), Gateshead, UK; Palais de Tokyo (group), Paris, France; MU Museum (group), Eindhoven, Nedtherlands. – Text by Paul Perioni, Curator at Space Studios London
LARGELY ABANDONED CONVENTIONAL TITLES (BLUEBERRY-ACAI EDM + OMEGA-3)
JP: I’m embracing the void
JP: I decided that my practice will be like subsuming all trends
JP: surfing all the waves
JP: ikea or h&m
JP: that’s how i think about the painting project
JP: it’s like the ikea art section
Style is more important than giving these objects an excuse for being. Enjoy my drop shadow. “Style is knowing who you are, what you want to say, and not giving a damn.”
Nu Paintings are not about networked culture, not about the (im)materiality of image objects, not about the market, not about the gesture. These are paintings that have not been touched by the artist. These are surfaces with varied arrangements of sublimated color. These are non-figurative surfaces for the home, the office and the institution. Intense and interchangeable photo wallpapers back the work up.
A hundred years from now, one will be able to see the work for what it is. Unclouded by excess knowledge of current methods of image production. When there is no novelty, an essence will shine through. All old things are beautiful.
Nu Painting is an unoriginal concept. Digital paintings, nostalgic/ironic, finding the limitations of imitative software, circulated online: ugly, but knowing. Poster Company and PaintFX could be mentioned, since I ripped them off. Tobias Madison did it too, she says in a slightly accusatory tone and I’m like ‘lol yah i know’. The difference is that mine are printed bigger and I’m better at it ‘cos I’m better at painting. I’m dead serious and I’m putting my heart into it. My mood is darker and more sombre. I’m a bad boy. I’m the Edgar Allan Poe of digital painting.
Painting is declared dead at least once a decade. Nu Painting is to painting what chess is to war. No casualties. The key is to think seven moves ahead. Clean aerial visions instead of freezing panicked nights in the trenches. Post-brushstroke painting. Post-studio painting. Post-paint painting.
1. “Beauty is truth, truth beauty,-that is all.”
2. “Relax, it’s just a game.”
Jaako Pallasvuo (b. 1987 – Finland, lives and works in Helsinki and Berlin) uses the web as an integral part of his practice, as a source of material, a subject, and a platform for actualizing his work. Since the age of 16, Pallasvuo has been uploading works into various Internet platforms, and accepts the lack of control over their circulation. He is particularly interested in the Tumblr culture and the meme phenomenon, as well as the relationship between identity and virtual self-representation. Other themes in his works include ethnographic and anthropological cinema, ’80s and ’90s culture, and what he calls “generational experiences”. Pallasvuo’s work does not confirm to a single style—he says that the would “gladly sacrifice cohesion if it means that I can explore larger fields of knowledge.” His recent influences include Joan Jonas, Sturtevant, Lee Lozano, and Alex Bag. – Artsy.com
(FEATURE) is a new program of the Goss-Michael Foundation directed toward engaging extremely talented Dallas-based artists with the programming of the Foundation. A single important work of the featured artist will be installed in our GMF Collection Room – a gallery space containing key pieces in the collection by Damien Hirst, Marc Quinn, Tracey Emin, Antony Gormely, and Angus Fairhust. Our first participating artist is Nathan Green.
Nathan Green (b.1980 – Houston, TX) received his BFA in 2004 from the University of Texas at Austin. He helped co-direct Camp Fig Gallery from 2004 until it’s closing in 2006 and is a founding member and partner of Okay Mountain in Austin. Nathan has most recently shown his work at Art Palace Gallery in Houston, the Contemporary Art Museum Houston, Austin Museum of Art, the Texas Biennial, Angstrom Gallery, Circuit 12 in Dallas, and LVL3 in Chicago. Nathan has also participated in Artist-In-Residence programs in Connecticut, New York, Vermont, Michigan, Illinois, and Dallas. As a founding member of the Okay Mountain Collective, Nathan has recently presented new works at Freight & Volume, New York; Prospect 1.5 New Orleans, University of Houston’s Blaffer Museum, the McNay Museum in San Antonio, Pulse Miami in both 2009 and 2010, Cress Gallery in Chattanooga, Tennessee, and Mark Moore Gallery in Los Angeles, California. Nathan lives and works in Dallas, Texas and is Assistant Curator of Education at the Modern Art Museum of Fort Worth.