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Visions of Brazil: Reimagining Modernity from Tarsila to Sonia Ocula Report Visions of Brazil: Reimagining Modernity from Tarsila to Sonia 18 May 2019 : Fawz Kabra for Ocula

Bridging almost a century of Brazilian art, Visions of Brazil: Reimagining Modernity from Tarsila to Sonia at Blum & Poe in New York (30 April–22 June 2019), hosted in collaboration with Mendes Wood DM, offers a rereading of Brazilian Modernism through the works of artists practising at different times, from the 20th century through to the...

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Reiko Tomii Ocula Conversation Reiko Tomii

In 1969, Horikawa Michio, schoolteacher and member of the artist collective GUN (Group Ultra Niigata), filled out the customs paperwork to mail a one-kilogram river stone from Niigata, the proverbial 'backside of Japan', to President Nixon. In return, Horikawa received a thank you note for this 'most unusual Christmas gift'—a muted anti-war...

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Yun Hyong-keun in Venice: The Artist Behind the Paintings Ocula Report Yun Hyong-keun in Venice: The Artist Behind the Paintings 4 May 2019 : Sherry Paik for Ocula

'He was not a "political" kind of person. He just wanted to be honest and straight. But it was not easy in Korea to live like that,' writes curator Kim Inhye on artist Yun Hyong-keun. For much of his life, Yun lived in proximity to some of the most tumultuous moments in modern Korean history, from which he emerged as a pioneer of abstract...

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Roxy Paine

b. 1966, USA

Roxy Paine (b. 1966) lives and works in in New York. Since 1989, his work has been internationally exhibited and is included in collections such as San Francisco Museum of Modern Art, CA; Museum of Modern Art, NY; the Whitney Museum of American Art, NY; the Hirshhorn Museum, Washington, DC; National Gallery of Canada, Ottawa and the Israel Museum, Jerusalem.

Roxy Paine describes his work as a trajectory of five oscillating wavelengths: Art Making Machines, Replicants, Fungal Fields, Specimen Cases and Dendroids. In 1990, Paine began showing his work in Williamsburg, Brooklyn where he cofounded the artist collective Brand Name Damages. In the early '90s, he quickly established a unique vision with works such as Where I’m at, Dinner of the Dictators and Placard Flinger. The first of his machines, Viscous Pult in 1990, consisted of three mechanically, rotating paint brushes each flinging ketchup, white paint and motor oil onto the gallery’s storefront glass. This piece significantly established Paine’s early interest in the collisions between industry and nature, control and chaos.

His later art-making machines, such as the Paint Dipper, PMU (Painting Manufacture Unit) and the Erosion Machine juxtapose two conflicting impulses: the constraints imposed by data and code systems against the randomness of nature and chance. Paine’s 'factories' resemble utilitarian models of production, but their results become questionable creations full of inefficiencies and nonidentical works. 'The blissed-out or bored machine, who can tell, makes anywhere from between 80 and 200 passes - depending on the size of the canvas and thickness of the paint surface desired. Time seems to stand still,' writes Tan Lin. 'Paine makes machines addicted to making paintings, to the labor of painting. He also makes hallucinatory, exquisitely unperturbed and minutely controlled replicas of mushrooms and poppies out of polymer.' Paine’s replicas - from a garden choked by weeds to a poppy flower oozing of harvest - transcribe the ordinary object into the psychoactive event. The banal and the hallucinatory are conceptually intertwined and often indecipherable components in Paine’s work.

The simultaneity of industry and nature is further seen in Paine’s stainless steel Dendroids. The Dendroids, defined as anything branching or dendritic in structure, began as an early tree-like form in Bluff, exhibited in Central Park’s Whitney Biennial 2002, and evolved into the groundbreaking, neural and synaptic systems of Maelstrom, exhibited on the rooftop of the Metropolitan Museum of Art 2009. Paine’s interest in stainless steel derives from its institutional use in pharmaceutical, food, gas and oil pipeline industries. The Dendroids began as a study of growth patterns in nature and developed into Paine’s recent interest in structures of the human brain and nervous system. This transformation can be seen in such works as One Hundred Foot Line, 2010, Neuron, 2010 and Ferment, 2011.

Roxy Paine is the recipient of a John Simon Guggenheim Memorial Foundation Fellowship. He has permanently sited works at the Olympic Sculpture Park, Seattle, WA, National Gallery of Art, DC, Nelson Atkins Museum of Art, Missouri, the Modern Art Museum of Fort Worth, Texas and the Wanas Foundation, Sweden.

Roxy Paine is represented by Kavi Gupta Chicago | Berlin. Recent solo exhibitions include Denuded Lens at Marianne Boesky, New York, NY and Appartus at Kavi Gupta Chicago | Elizabeth Street, Chicago, IL. Recent group shows include Spaced Out: Migration to the Interior, curated by Phong Bui, Red Bull Studios, New York, NY; Bloodflames Revisited, curated by Phong Bui, Paul Kasmin Gallery, New York, NY; The Hidden Passengers, curated by Avi Lubin, Apexart, New York, NY and Out of Hand: Materializing the Post-Digital at the Museum of Art and Design, New York, NY. Upcoming solo exhibitions include a 2015 show titled Articulated Confusion: The Drawings of Roxy Paine at the Frederik Meijer Gardens and Sculpture Park. Paine’s work has been featured in such publications as Artforum International Magazine, the New York Times, the New Yorker, ArtReview, Art in America, the Wall Street Journal, and the Huffington Post.

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Featured Artworks

Speech Impediment no 2 by Roxy Paine contemporary artwork Roxy PaineSpeech Impediment no 2, 2016 In maple, aluminum
61.38 x 38 x 12 inches
Bad Planet by Roxy Paine contemporary artwork Roxy PaineBad Planet, 2005 Foam, epoxy, lacquer, oil, stainless steel
165.1 x 152.4 x 152.4 cm
Gary Tatintsian Gallery

Recent Exhibitions

Contemporary art exhibition, Group Exhibition, I Cyborg at Gazelli Art House, London
7 October–12 November 2016 Group Exhibition I Cyborg Gazelli Art House, London
Contemporary art exhibition, Roxy Paine, Thermoplastic Flux at Kasmin, New York
15 September–22 October 2016 Roxy Paine Thermoplastic Flux Kasmin, 297 Tenth Avenue, New York

In Related Press

WHAT TO SEE DURING FRIEZE WEEK 2017 Related Press WHAT TO SEE DURING FRIEZE WEEK 2017 Whitewall : 3 May 2017

Ethics demonstrated in geometrical order will showcase new works from the artist Erwin Wurm's series One Minute Sculptures, which he's been making for 20 years. The series asks viewers to enact a pose with everyday items for just one minute—this time around he's using midcentury modern furniture. These audience-activated sculptures will also...

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