Bruno David Gallery: Friday, 27 January 2012
JUDY PFAFF: RECENT WORK
Opening Reception Friday, January 27, 2012, from 5 to 9 pm
January 27 – March 3, 2012
Front Room: Carmon Colangelo: Seven Days in O Land O
Project Room: Jill Downen: Midsection
Media Room: Monika Weiss: Abiding (Proba Wody)
Public Hours: Wednesday through Saturday, 10:00 am – 5:00 pm
Although internationally renowned as one of the pioneers of installation art, the exhibition at Bruno David Gallery, Recent Work exhibits Judy Pfaff's adroitness in creating smaller works of art. Melding several kinds of media and methods of art-making together, Pfaff redefines the capacities of what art can be. A fully illustrated catalogue with essays by Buzz Spector and Kara Gordon accompanies the exhibit.
Balancing intense planning with improvisational decision-making, Pfaff is known for creating exuberant, sprawling sculptures and installations that weave landscape, architecture, and color into a tense yet organic whole. A pioneer of installation art in the 1970s, Pfaff synthesizes sculpture, painting, and architecture into dynamic environments in which space seems to expand and collapse, fluctuating between the two- and three-dimensional. Pfaff’s work is a complex ordering of visual information composed of steel, fiberglass, and plaster as well as salvaged signage and natural elements such as tree roots. Her works are piercing, careening through space, achieving lightness and explosive energy. She has extended her interest in natural motifs in a series of prints integrating vegetation, maps, and medical illustrations, and has developed her dramatic sculptural materials into set designs for several theatrical stage productions.
In the Front Room, the gallery presents an exhibition, titled Seven Days in O Land O by Carmon Colangelo. This collection of prints investigates the phenomenon of globalization and the disappearance of local culture and the gradual homogenization of American life. Inspired by a seven-day trip in Orlando, it was originally conceived to be seven interrelated, recto-verso prints that could be bound together and folded in a sequence that is suggestive of a road map. These prints combine woodblock and letterpress techniques and digital and relief printing, as well as hand coloring on Kitakata paper. Synthesizing images, texts, notations and manipulated drawings, they also incorporate abstract maps, Disneyesque images and generic hotel floor plans that suggest modern and post-modern cities. In method and concept, “O Land O” is a pastiche and amalgamation. While related, however, these prints are far from homogeneous. Each print is unique and capable of being displayed on its own. Nevertheless, their impact is best felt when the prints are shown together or experienced as a portfolio. A fully illustrated catalogue with essays by Katherine Van Uum and Theo Lotz accompanies the exhibition. The prints were created at Flying Horse Editions, University of Central Florida, Orlando, Florida, in collaboration with Theo Lotz and Larry Cooper with the assistance of Adrian Gonzzales.
In the Project Room, the gallery presents an exhibition, titled “Midsection” by Jill Downen. In Midsection, Downen employs the metaphoric relationship between bodies and buildings in an installation of sculptural forms. The torso, specifically from the bust to the navel, takes on the role of sculpted building blocks situated in relation to the space of the project room. Jill Downen's art is a focused investigation of the symbiotic relationship between the human body and architecture expressed in temporal installations, drawings, and models. Her art envisions a place of interdependent relation between the human body and architecture, where the exchanging forces and tensions of construction, deterioration, and restoration emerge as thematic possibilities.
In the Media Room, the gallery presents a video work titled “Abiding (Proba Wody)" - (Trial by Water) by Monika Weiss. Aneta Szylak writes, "Monika Weiss combines traditional techniques such as drawing with performance, video and sound installations. The perpetual aspect of her performances, their slowness, repetitiveness are very much experience oriented. Abiding (Proba Wody (1999-2000) deals with ritual immersion and separates the performing subject from her usual surroundings. Many of her often-risky performances with immersions in different liquids provide sensory deprivation and have almost meditative aspects. In the Xerox Project (1999) Monika Weiss makes herself one with the working Xerox copier when exposing her face and hair to the light of the machine. The repetitive cycle of the working machine and its flashing light feel dramatic, as the artist goes about making what soon became her trademark: the imprint of the body, the body as a means of drawing and the ritual of inclusion or immersion." [Aneta Szylak in "You Won't Feel A Thing: On Panic, Obsession, Rituality and Anesthesia", Kunsthaus Dresden, Germany, 2007].
Opening Reception Friday, January 27, 2012, from 5 to 9 pm
January 27 – March 3, 2012
Front Room: Carmon Colangelo: Seven Days in O Land O
Project Room: Jill Downen: Midsection
Media Room: Monika Weiss: Abiding (Proba Wody)
Public Hours: Wednesday through Saturday, 10:00 am – 5:00 pm
Although internationally renowned as one of the pioneers of installation art, the exhibition at Bruno David Gallery, Recent Work exhibits Judy Pfaff's adroitness in creating smaller works of art. Melding several kinds of media and methods of art-making together, Pfaff redefines the capacities of what art can be. A fully illustrated catalogue with essays by Buzz Spector and Kara Gordon accompanies the exhibit.
Balancing intense planning with improvisational decision-making, Pfaff is known for creating exuberant, sprawling sculptures and installations that weave landscape, architecture, and color into a tense yet organic whole. A pioneer of installation art in the 1970s, Pfaff synthesizes sculpture, painting, and architecture into dynamic environments in which space seems to expand and collapse, fluctuating between the two- and three-dimensional. Pfaff’s work is a complex ordering of visual information composed of steel, fiberglass, and plaster as well as salvaged signage and natural elements such as tree roots. Her works are piercing, careening through space, achieving lightness and explosive energy. She has extended her interest in natural motifs in a series of prints integrating vegetation, maps, and medical illustrations, and has developed her dramatic sculptural materials into set designs for several theatrical stage productions.
In the Front Room, the gallery presents an exhibition, titled Seven Days in O Land O by Carmon Colangelo. This collection of prints investigates the phenomenon of globalization and the disappearance of local culture and the gradual homogenization of American life. Inspired by a seven-day trip in Orlando, it was originally conceived to be seven interrelated, recto-verso prints that could be bound together and folded in a sequence that is suggestive of a road map. These prints combine woodblock and letterpress techniques and digital and relief printing, as well as hand coloring on Kitakata paper. Synthesizing images, texts, notations and manipulated drawings, they also incorporate abstract maps, Disneyesque images and generic hotel floor plans that suggest modern and post-modern cities. In method and concept, “O Land O” is a pastiche and amalgamation. While related, however, these prints are far from homogeneous. Each print is unique and capable of being displayed on its own. Nevertheless, their impact is best felt when the prints are shown together or experienced as a portfolio. A fully illustrated catalogue with essays by Katherine Van Uum and Theo Lotz accompanies the exhibition. The prints were created at Flying Horse Editions, University of Central Florida, Orlando, Florida, in collaboration with Theo Lotz and Larry Cooper with the assistance of Adrian Gonzzales.
In the Project Room, the gallery presents an exhibition, titled “Midsection” by Jill Downen. In Midsection, Downen employs the metaphoric relationship between bodies and buildings in an installation of sculptural forms. The torso, specifically from the bust to the navel, takes on the role of sculpted building blocks situated in relation to the space of the project room. Jill Downen's art is a focused investigation of the symbiotic relationship between the human body and architecture expressed in temporal installations, drawings, and models. Her art envisions a place of interdependent relation between the human body and architecture, where the exchanging forces and tensions of construction, deterioration, and restoration emerge as thematic possibilities.
In the Media Room, the gallery presents a video work titled “Abiding (Proba Wody)" - (Trial by Water) by Monika Weiss. Aneta Szylak writes, "Monika Weiss combines traditional techniques such as drawing with performance, video and sound installations. The perpetual aspect of her performances, their slowness, repetitiveness are very much experience oriented. Abiding (Proba Wody (1999-2000) deals with ritual immersion and separates the performing subject from her usual surroundings. Many of her often-risky performances with immersions in different liquids provide sensory deprivation and have almost meditative aspects. In the Xerox Project (1999) Monika Weiss makes herself one with the working Xerox copier when exposing her face and hair to the light of the machine. The repetitive cycle of the working machine and its flashing light feel dramatic, as the artist goes about making what soon became her trademark: the imprint of the body, the body as a means of drawing and the ritual of inclusion or immersion." [Aneta Szylak in "You Won't Feel A Thing: On Panic, Obsession, Rituality and Anesthesia", Kunsthaus Dresden, Germany, 2007].
3721 Washington Boulevard
St. Louis, MO 63108 USA
info@brunodavidgallery.com
www.brunodavidgallery.com
Tel: 1.314.531.3030
St. Louis, MO 63108 USA
info@brunodavidgallery.com
www.brunodavidgallery.com
Tel: 1.314.531.3030
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