Los Angeles, CA (June 26, 2015) - KM Fine Arts is pleased to announce the first tier of their summer exhibition series MUSINGS: a dynamic group exhibition of sculptures and paintings by both contemporary New York and Los Angeles based KM artists paired with secondary market masters. KM Fine Arts is proud to announce representation of famed subversive artist, Judith Supine, whose work will be featured in MUSINGS alongside innovative work by seasoned gallery artists and important work from the secondary market. Also included in the exhibition are works by Ramsey Dau, whose first solo exhibition at KM Fine Arts, Los Angeles will opened September 12, 2015
Featured in the exhibition are works by Ramsey Dau, Victor Matthews, Philip Mount, Dana Louise Kirkpatrick, Cole Sternberg, and Judith Supine, paired with works by influential mid-century artists including Norman Bluhm, Alexander Calder, Marlene Dumas, Helen Frankenthaler, Michael Goldberg, and Wolf Kahn. The exhibition will be on view at KM Fine Arts | Los Angeles, 814 N. La Cienega Blvd, Los Angeles, CA, from July 7 – August 15, 2015.
Judith Supine was born in Portsmouth, Virginia, in 1978. Judith Supine is an artist living and working in Brooklyn, NY. Supine could not speak until a month after his seventeenth birthday. He could not physically articulate words, he could only squeak and grunt. Supine often drew pictures to communicate with his family. His mom saved all of his pictures, just one of many reasons why his mom is great.
Judith Supine uses materials that are free or at least very cheap. He uses an exacto-knife, glue sticks, cheap ugly paints and real sleazy magazines that make him sexually uncomfortable. Judith Supine gets his magazines out of people's trash, from the public library, from the dentist's offices, from his little sister's magazine collection, and from bankrupt porn shops.
Ramsey Dau has focused on a body of work he terms “Future Primitivism” since 2012. Combining a personal graphic vocabulary of primitive shapes, pattern and expressionistic mark-making, with masterfully rendered photorealism, Dau creates a type of “painted collage” that explores the tension of opposites – between modern and primitive, geometric and abstract, the simple and complex. It is a body of work shaped both by chance, and a deliberate, prodigious exploration of personal aesthetics. When asked about the meaning of his work, he gives a somewhat existential answer:
"I make work that I am drawn to make. Aesthetics plays a major role, but as to my motivation – I believe that to be buried in my subconscious. Modern neuropsychology emphasizes the power of the subconscious and questions the existence of free will, so maybe it is beyond my knowing. Perhaps, in time, it will reveal itself through the making of the work itself. Like some future archaeologist finding an ancient machine and trying to figure out what it is by plugging it in and letting it run – seeing what it makes."
Dau’s recent work has put him on the path of emergence. He was published in Modern Painters as one of 2014’s 25 Artists to Watch.
Ramsey Dau's first solo exhibition is scheduled to open at KM Fine Arts | Los Angeles on September 12, 2015.
Dana Louise Kirkpatrick's bold, large-scale artworks in mixed media references elements of Modern art, German and Neo-Expressionism. She grapples with the dichotomies and contradictions embedded in contemporary Western culture, religion and humanity, using forceful iconography and a highly expressive technique. Born in Cambridge, MA. She currently lives and works in Los Angeles. Many of the figures in Kirkpatrick’s work are often surreal depictions of the artist herself. Her work and confessional visual language, inspired and influenced by confessional artists Louise Bourgeois and Tracey Emin, grows from her fascination with, and empathy for, the constant existential duel between the isolated individual and the shared awareness of the group.
Notable collectors of Kirkpatrick’s work include Jorge Perez, Lyndley & Sam Schwab, Flea, Ian Montone, Dana White, Tim Hutton, Sonia Kashuk, Catherine Benett (CFDA), Roxanne & James Grant, Jon Breseler, Stephen Nemeth, and Shepard Fairey.
Victor Matthews has produced work since the mid-’80s, alongside Haring, Basquiat, and Clemente. The serenity and active simplicity of the paintings and sculptures suggest the way in which we all seek to be on intimate terms with the places we live in.
His work has been exhibited in numerous solo exhibitions in the US and abroad, including the 48th Venice Biennale, Museum Sala Uno (Rome), the Boca Musem of Art, the Guggenheim Museum (Venice), and The Sculpture Center (New York). In 2013, Matthews exhibited at the 55th Venice Biennale, for which a catalog was published. Friends and collectors Salmon Rushdie and Francesco Clemente wrote the introduction for this publication. His work was recently placed in the Credit Suisse Collection.
Philip Mount’s high-contrast paintings sit in perfect limbo between formalism and near-gestural abstraction. Professionally-trained at St. Helens College of Art and Design, Mount utilizes skills of compositional and visual balance drawn from years of topographical, architectural and people study. Vibrant burst, swaths, and pools of color are grounded by matte-black blocks that hint at architecture and formal substance.
In 1996 Mount was selected to be the first artist in residence at the Palace of Wesminster since J.M.W. Turner’s appointment in 1834. He served as residence artist for six years. He is a frequent recipient of government and public commissions and has exhibited throughout the U.K., New York, and Los Angeles. His work can be found in public and private collections internationally including The ICI Building, Millbank, London; Northern Trust; The Parliament Collection, London; Amersham International, Buckinghamshire, England; The Ford Collection; and the Lotus Collection. Mount travels extensively and is currently living in Los Angeles as an artist in residence for a major film company.
Cole Sternberg’s questioning manifests engage the viewer in a dialog in an age of content overload, government control and the traditional hallmarks of good and evil humankind, from torture to consumption to hope. The works tend to be subtle or subversive in nature, driven by elegant visual concepts and poetry versus overt political statements.
Sternberg, with studios in Los Angeles and New York, has exhibited both nationally and internationally, including exhibitions at The American University Museum
(Washington DC), Hochhaus Hansa (a Ruhr.2010 Museum, Dortmund, Germany, and Los Angeles Nomadic Division (LAND, Los Angeles, CA). In 2013 Sternberg's projects included exhibitions with e105 Gallery (Berlin, Germany), and ARTed House (Wainscot, NY). His works can be found in major collections and publications throughout the world and have been published in two monographs. Sternberg has been featured in publications such as Whitewall Magazine, the Wall Street Journal, Huffington Post, Juxtapoz, Autre Magazine, and Suspend.