'A Picture of War is Not War', we read in Hito Steyerl's iconic film November (2004), an essayistic Super 8 film tackling the definition of terrorism constructed around the figure of the artist's best friend Andrea Wolf, who was killed as a terrorist in 1998 in Eastern Anatolia after she joined the PKK (Kurdistan Workers' Party). Mixing documentary...
There has been a flurry of triennial and biennial art activity in Japan this year. The Aichi Triennale opened in Nagoya this August, sparking a national debate about the shutting down of a display of formerly censored works—the result of public backlash against a burnt image of Emperor Hirohito and a statue commemorating the women forced into...
Hans Hartung and Art Informel at Mazzoleni London (1 October 2019-18 January 2020) presents key works by the French-German painter while highlighting his connection with artists active in Paris during the 50s and 60s. In this video, writer and historian Alan Montgomery discusses Hartung's practice and its legacy.Born in Leipzig in 1904, Hans...
Press Release courtesy of Simon Lee Gallery
Simon Lee Gallery is proud to present for the first time in Asia, an exhibition of new works by New York-based artist Garth Weiser. Working in combined layers of line and colour, Weiser’s gestural and literal carvings cut up the painting in a built up tension between the intricate syntax of abstraction and the paintings’ physical surface. Marked by materiality, textures, burnished surfaces and a striking synthesis of addition and negation, the intensely textured paintings point to Weiser’s implicit observations of the evolution in the practice of painting.
Poised between hard-edge painting and expressionism, Weiser’s work reveals a new engagement with composition, agency and intention, confronting abstract expressionistic tropes with the use of different effects, procedures and materials. The layering strata of pigment in the paintings, complicates the distinction between areas of colour and line – creating a sense of uncertainty to the identity of each. Surfaces absorb light and reflect it unevenly, keeping the viewer mobile by optical instability and lack of figure-ground distinctions. While abstract, the works are still illusionistic, and shadows, gradations of colour, a sense of movement, variations between light and darkness, rippling waves, wood grain, and reverberating lines of contour are evoked in the undulation of palette and seismic surface criss-crossed with diagonal striations.
In this set of new works, Weiser continues using versatile aesthetic strategies in a dynamic progression to maintain a constant interplay between the spontaneous and consciously rendered. The contrast of dense metallic contour and relentless demarcation test formal limits in a shifting discourse of destruction and renewal. A sense of time manifests in the different ways and speeds with which he applies paint, building and expunging surface areas of thick impasto, creating abstracted sections of varying patinas and segments beneath the obliterated surface are defaced to reveal the underlying layers. The charged language of the five paintings demonstrates phenomenal peculiarities and tactile detail achieved by changes in colour, weight, visual rhythm, and density. The layers of impasto weave a complex barrier and swooping marks, flashing pigment is partially perceived behind the facade of an austere palette and raked, scarred lines. Subjecting expressionistic action to forms of mediation, Weiser’s paintings are at once volatile and precise, resonant with a powerful frontality that refuses conclusion.
Garth Weiser (b. 1979, Helena, MT) works in Brooklyn and Hillsdale, NY. In 2017, Weiser will present a solo exhibition at The Contemporary Austin Art Museum, Austin, TX. Weiser was recently the subject of solo exhibitions at Casey Kaplan, New York, NY (2015); Altman Siegel, San Francisco, CA (2014); and White Flag Projects, St. Louis, MO (2010). His work has additionally been included in numerous group exhibitions: Pattern: Follow the Rules at the Eli and Edythe Broad Museum at Michigan State University, East Lansing, MI (2013); Albright-Knox Art Gallery, Buffalo, NY (2012); Nothing Beside Remains, curated by Shamim Momin, Los Angeles Nomadic Division (LAND), Marfa, TX (2011); Seeing is a Kind of Thinking: A Jim Nutt Companion, curated by Julie Rodrigues Widholm, Museum of Contemporary Art Chicago, Chicago, IL (2011); and Big New Field: Artists in the Cowboys Stadium Art Program, Dallas Museum of Art, Dallas, TX (2010). Weiser’s work is additionally held in the collections of prominent institutions, including San Francisco Museum of Modern Art, San Francisco, CA; Dallas Museum of Art, Dallas, TX; The Hammer Museum, Los Angeles, CA; The Whitworth, University of Manchester, Manchester, UK; Eli and Edythe Broad Art Museum: Michigan State University, East Lansing, MI; Albright-Knox Art Gallery, Buffalo, NY; Museum of Contemporary Art, Chicago, IL.
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