February 16 – March 23, 2019
The artist’s enterprise engages the artist’s situation of being-in-the-world exhaustively: it is a dream, never completed, of the whole. The enterprise has its origin in the astonishment of perception: that there are things and not nothing, that one’s consciousness is always of some thing and never empty, that one is always intentionally comported with things as things full of meaning. The enterprise presupposes that it is in itself a mode of inquiry into the means of meaning, into the signification of images, into the making visible of the invisible. The artwork is this making visible of the invisible, of the artwork as the visible form of the invisible core of oneself within a world. The artwork is its theory, enacted in visible form, which is as much the theory of life as the theory of art, as much the practice of life as the practice of art. The situation of the artist is at once a vita contemplativaand a vita activa, in which the artwork enacts the unity of perception and interpretation, the unity of cognition and emotion and volition.
The enterprise, then, drawn from the observed world and the sedimented memories acquired in lived experience, becomes the basis of constructing a critique of the conditions of one’s being in the world. Redrawing the figures of Rembrandt’s Syndics as contemporary academics, and redrawing my father’s mechanical drawing of machine parts, I am constructing a critique of the corporate intrusion into academia and the concomitant instrumentalization of education.
pictured above: David Newman, Instrumental Oversight, 2018, lithograph, 20″w x 16″h
February 16 – March 23, 2019
Lynne Harlow’s solo exhibition Golden is an exploration of the shared sensations of two seemingly dissimilar cities: Los Angeles and Istanbul. The pieces combine color, material, light and space to explore the affinities she perceives between these two cities, examining their concrete commonalities, like ceramic tile and proximity to water, as well as the atmospheric sensations of both locations. Their historical and cultural differences serve as a compelling counter to the shared essence of these locations. Goldenbuilds on previous projects like Limitless and Lonesome and Baker Bridge Road, projects that scrutinized physical locations and translated their sensory attributes into a group of reductive works executed in a range of materials, including paint, Plexiglas, fabric and light. Lynne Harlow’s working process aims to identify sensations and associations from personally significant and carefully chosen places, and allow them to evolve into their own autonomous experiences that expand beyond their initial sources.
Conceptually, the series is built upon her time spent in both cities as a visitor, an outsider, synthesizing visual and cultural information with the heightened sense of observation – visual perception and aesthetic interpretation – that so often comes with being outside our familiar surroundings. There is an overpowering sense of collision of the built environment with the natural environment in both Los Angeles and Istanbul, a trait that isn’t unique to these two places but is particularly prominent in both. The series aims to examine and interpret this collision of the natural and the constructed. In addition, both cities’ identities hinge on their unique east/west relationships: Istanbul as the literal geographic meeting of Europe and Asia, and Los Angeles as an organic intermingling of varied Asian and western populations as a result of geographic proximity. The project comprises large-scale installation pieces and a constellation of smaller individual works. The group includes small and large-scale drawings (colored pencil, gouache and acrylic on paper), sculptural wall works made with ceramic tile, Plexiglas, fabric and paint, and large-scale installation pieces that include ceramic tile, Astroturf, glass, fabric and vinyl curtain. This list is a combination of materials and techniques that Harlow previously used in the studio and others that are new to her practice.
pictured above: Lynne Harlow, Horizon 10, 2017, glazed ceramic and chiffon, 20″w x 4″h x 1″d
January 5 – February 10, 2019
Predicament of the Subject is the title of Myra Barraza’s new solo exhibition at Liliana Bloch Gallery. The title “Predicament of the Subject” stems from Aristotle’s recognition of ten predicaments, or attributes that sum the range of human thought, in which one, or other, could find a category for any, and all concepts. Myra Barraza has created a series of small -scale social media paintings of men’s portraits of portraits referencing identity fluctuation. The exhibition also includes pieces from her Feral Female series, in which the artist paints what she calls “female sexuality portraits”. Barraza’s depictions constitute a sensual exploration of the frontier of female and male representation.
Predicament of the Subject will be accompanied by a catalog with an essay by Dr. Tania Pleitez Vela, author, researcher, and lecturer of Latin American literature. Dr. Pleitez Vela is an associate professor at the Universitat Autònoma de Barcelona and a correspondent member of the Academia Norteamericana de la Lengua Española (ANLE).
pictured above: Myra Barraza, Predicament of the Subject 2, 2017, oil paint on canvas board, 5″w x 7″h