Bruno David Gallery: Friday, 9 March 2012
CHRIS KAHLER: RECENT PAINTINGS
Opening Reception Friday, March 9, 2012, from 5 to 8 pm
March 9 – May 5, 2012
Front Room: Buzz Spector: Malevich: with eight red rectangles
Project Room: Katharine Kuharic: Working in the Lou
Media Room: Van McElwee: Supernatural
Public Hours: Wednesday through Saturday 10:00 am – 5:00 pm
Bruno David Gallery is pleased to present a new exhibition, “Recent Paintings,” by Chris Kahler. Carmine Iannaccone writes of Kahler’s work that “it unhinges the function of representation, loosens the joints of correspondence, makes the presumed determinacy of representation indeterminate.” Kahler’s paintings are this but they are simultaneously that. Iannaccone goes on to note: “Kahler’s style of abstraction loosens the laws that govern representation, it puts another question into play: what kind of meaning does this species of vision produce?” The meaning, like the work itself, is multi-layered, and invites viewers to connect their own histories with the experience of looking. A fully illustrated catalogue, with an essay by Carmine Iannaccone, accompanies the exhibit.
"Kahler's paintings are very much about physical process, but they are also about the processes by which images come into being. They activate the mental mechanisms that search for analogies between what we're looking at and what we've seen elsewhere, between what we're seeing on the canvas, and what we know about the world. To look at one of these paintings is to engage in just such a searching, a feeling around for meaning, as though the painting were a transparent screen which we hold up to the things around us and look for matches, places where the image lines up with reality or with multiple realities." Kahler asks us construct meaning out of what we already know in conjunction with the work that is in front of us. In our search for meaning, Kahler pulls us further into his work, immersing us completely in the abstract environment he has created. These abstract environments become representational of a world—our world—and it is this play between abstract and representation that makes Kahler’s work so successful.
In the Front Room, the gallery presents Buzz Spector’s groundbreaking 1992 installation, Malevich: with eight red rectangles.
In the Project Room, the gallery presents an exhibition, titled “Working in the Lou” by Katharine Kuharic. Kuharic’s work is, in a word, alive. Birthed from “unsolicited images,” Kuharic manipulates and reconfigures images that our culture has been desensitized to, shocking the viewer and asking the audience to reconsider what they think they know. Taking stock pictures from junk mail, newspapers, magazines and other sources, Kuharic meticulously paints images to create reconfigured histories. Her works highlight investigations into American celebrity, pop and suburban culture, and personal identity politics. A fully illustrated catalogue with an essay by Kara Gordon accompanies the exhibit.
In the Media Room, the gallery presents a video work titled “Supernatural” by Van McElwee. Just shy of six minutes, this single-channel video is waves of variation that reveal the contours of impossible form. It is as if the process of decay were reversed, causing delicate structures to emerge from the grain of chaos.
Opening Reception Friday, March 9, 2012, from 5 to 8 pm
March 9 – May 5, 2012
Front Room: Buzz Spector: Malevich: with eight red rectangles
Project Room: Katharine Kuharic: Working in the Lou
Media Room: Van McElwee: Supernatural
Public Hours: Wednesday through Saturday 10:00 am – 5:00 pm
Bruno David Gallery is pleased to present a new exhibition, “Recent Paintings,” by Chris Kahler. Carmine Iannaccone writes of Kahler’s work that “it unhinges the function of representation, loosens the joints of correspondence, makes the presumed determinacy of representation indeterminate.” Kahler’s paintings are this but they are simultaneously that. Iannaccone goes on to note: “Kahler’s style of abstraction loosens the laws that govern representation, it puts another question into play: what kind of meaning does this species of vision produce?” The meaning, like the work itself, is multi-layered, and invites viewers to connect their own histories with the experience of looking. A fully illustrated catalogue, with an essay by Carmine Iannaccone, accompanies the exhibit.
"Kahler's paintings are very much about physical process, but they are also about the processes by which images come into being. They activate the mental mechanisms that search for analogies between what we're looking at and what we've seen elsewhere, between what we're seeing on the canvas, and what we know about the world. To look at one of these paintings is to engage in just such a searching, a feeling around for meaning, as though the painting were a transparent screen which we hold up to the things around us and look for matches, places where the image lines up with reality or with multiple realities." Kahler asks us construct meaning out of what we already know in conjunction with the work that is in front of us. In our search for meaning, Kahler pulls us further into his work, immersing us completely in the abstract environment he has created. These abstract environments become representational of a world—our world—and it is this play between abstract and representation that makes Kahler’s work so successful.
In the Front Room, the gallery presents Buzz Spector’s groundbreaking 1992 installation, Malevich: with eight red rectangles.
In the Project Room, the gallery presents an exhibition, titled “Working in the Lou” by Katharine Kuharic. Kuharic’s work is, in a word, alive. Birthed from “unsolicited images,” Kuharic manipulates and reconfigures images that our culture has been desensitized to, shocking the viewer and asking the audience to reconsider what they think they know. Taking stock pictures from junk mail, newspapers, magazines and other sources, Kuharic meticulously paints images to create reconfigured histories. Her works highlight investigations into American celebrity, pop and suburban culture, and personal identity politics. A fully illustrated catalogue with an essay by Kara Gordon accompanies the exhibit.
In the Media Room, the gallery presents a video work titled “Supernatural” by Van McElwee. Just shy of six minutes, this single-channel video is waves of variation that reveal the contours of impossible form. It is as if the process of decay were reversed, causing delicate structures to emerge from the grain of chaos.
3721 WASHINGTON BOULEVARD
SAINT LOUIS MO 63108
314.531.3030
INFO@BRUNODAVIDGALLERY.COM
WWW.BRUNODAVIDGALLERY.COM
SAINT LOUIS MO 63108
314.531.3030
INFO@BRUNODAVIDGALLERY.COM
WWW.BRUNODAVIDGALLERY.COM
posted by Bill Barrett at 10:16 AM
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