Anglim Gilbert Gallery is pleased to present SEISMIC SHIFT, a presentation of Bay Area artists whose works play with expectations of genre and media, at EXPO Chicago 2016.
California artists have long sought different approaches to the methods of their New York and European forebears. Whether in removing the limitations of artistic genre or insisting on the mutability of media, certain artists have vigorously challenged the Eurocentric canon.
A highlight of this year will be the Bruce Conner retrospective at MoMA (July 2016) and San Francisco MoMA (October 2016). His work in all media has been iconoclastic. A tapestry and suite of drawings included in the booth presentation illustrate Conner’s lifelong radical re-thinking of materials -- and what can be art’s subject.
Lynn Hershman’s employment of photography and film has not been to capture reality or build upon narrative illusionistic, cinematic style. Instead, she uses both to explore social interaction and the markers of gender identity. Her touring retrospective, now in Germany, will come to the US in early 2017.
Three classic graphite drawings by Robert Bechtle demonstrate how his placement of cars, trees and buildings make use of the principles of still-life composition. His urban landscapes (as nature morte) take photography as their point-of-departure, for the artist, a way of getting away from the imposed styles of realism.
Clare Rojas has taken abstract forms to depict narratives. After years of using the figure in space to tell stories, she now translates the relationship of people and events into the ‘weight’ of color and interaction of shapes with one another. Like a form of musical notation, her abstract motifs are designed to flow within a pattern.
Painter John Zurier’s focus on his materials --the canvas, its stretcher bars, the ground minerals of his pigments and their suspending medium (oil, distemper, in some instances watercolor)—is the clue that he creates them as objects. His paintings are allied to a sculptural tradition and are intended to be appreciated as much for their texture, scale of depth to width to height, and even the folds or nails on the sides of the painting, as they are for the image on the 2-d plane.
Anne Appleby’s abstract paintings are conceived as a form of reverential portraiture. Their minimalist format allows the viewer to absorb the life and characteristics of a particular plant, bringing together in an instant the properties of light and translucence over a period of time.
Catherine Wagner’s new work engages with the essence of Giorgio Morandi’s paintings, utilizing form and color through a variety of unique color gel filters. The shadows are both abstractions and representations of his still life objects and were made during Wagner’s visit to Bologna, Italy in 2015 not long after her residency at the American Academy in Rome.