opening: friday may 31st @ 7 PM
viewing hours: 12 PM – 7 PM on saturday (june 1st) & sunday (june 2nd)
address: 226 Troutman Street Apt. 1R
subway: L to Jefferson
The Artists: Avery Singer. April 26th – June 22nd
Kraupa-Tuskany Zeidler Galerie, Karl–Liebknecht–Straße 29, 4th floor
There was something about the setting of this gallery- it was behind an unmarked door down a long, spooky hallway on the fourth floor of a big office building. Generic and colorless computery updates of purist still lives, by recent Cooper Union graduate Avery Singer, look completely at home in this bizarre space. Composing her images in 3-D rendering software, Singer uses masks on canvas and an airbrush, which creates a naturalistic effect, while clearly depicting digital forms.
Genre scenes looked strangely cleaned up, though a goofy kind of humor ran through both the situations on view and the way they were depicted. “Saturday Night” shows a starkly-lit spaghetti pile of cubes wearing an artist hat, next to a bottle wine. The gray self-seriousness mimics the drudgery of making such images. This saved the paintings from being too dry. It was nice to see the impeccable technical skill of this artist not lead to boring, technical-looking work. Instead, exacting craft provided a clean slate for the abstractions to look like they were taking place between physical objects.
|Katherine Powers, 2009|
'Blue Plate Special'
|Mitte Berlin, Window View|
|Avery & Swedish Friend|
Acrylic on Canvas
264 x 198 cm
|Janet & Avery|
|Professor Frieder Butzmann|
|Calder & Sven|
|'Jewish Artist and Patron'-2012|
Acrylic on Wood Panel
91 x 91 cm
|Nadine & Collectors|
|Taking a Closer Look|
Acrylic on Wood Panel,
152 x 111 cm
|'The Studio Visit'-2012|
Acrylic on Canvas
244 x 198 cm
If one views the past, be it in glances through old magazines, in movies of lost eras, or in visions of what was to come, the stream of history is laid bare, flowing forward to the present day.If one stops at a certain point and ignores what has followed, the stream opens up and the flow is forced to take whatever path we fancy.
The Artists presents a romanticized and slapstick vision of how we are or are not living. Staged figures occupy the realm of unrealized buildings or monuments, their geometric stylization skewing human forms into architectural plottings. The eyes of the dreamer rest upon both a forgotten vestige and a future transpired, with a sense of sentimentality overshadowed by a cold and uncanny pallor. These opposing viewpoints converge to produce glimpses of alternate timelines, where idealized visions of contemporary life and bohemia are filtered through past conventions. The mythologized status of the artist as a social being is examined as it exists and as it has been fantasized.
The works’ colorless palette and constructivist aesthetic hint at records of nonexistent times, commemorating absurd regimes that never came to fruition. Noirish shadows spread under expressionistic backlighting; the breezy theatricality of a performance piece freezing into history painting, a communion between artist friends becomes enshrined in neoclassical simplicity. Contemporary media, meshing with bygone trends of the historical avant-garde, produces a perspective of aesthetics that falters to find a foothold on the accepted timeline of art history.
All the works here can be seen as dedications offered as passionate answers to the necessity of fleeting and overburdened ideas. The paintings project unrealized actions and sculptures, the writing - Cologne Painter – an exhibition never to be displayed. Cologne Painter is satire poking fun at the sanctioned language of the press release, and a part of a collection of writings to be published in novel form under the title Press Release Me.