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Artists' Opening Reception: Kevin Cooley & Phillip Andrew Lewis at Kopeikin Gallery

Posted By Administration, Wednesday, January 8, 2014
Updated: Monday, January 20, 2014

UNEXPLORED TERRITORY

ImageExhibition Dates: January 11 - February 22, 2014

Reception with the Artists:
Saturday January 11
6:00 - 8:00 pm


 
 Kevin Cooley NROL-65 Spy Satellite Launch, archival pigment prints, four 12x18" photographs, ed of 4+1AP, 2013, Courtesy of Kopeikin Gallery
 
ImageKevin Cooley Controlled Burn 1, Controlled Burn 3, 40x60" archival pigment print, ed of 4+1AP, 2013, Courtesy of Kopeikin Gallery

This multidisciplinary exhibition goes beyond the photographic image to include photograms, videos, and works on paper. Kevin Cooley, with Phillip Andrew Lewis as collaborator on some works, designed Unexplored Territory to chart the limits of human exploration and our desire to control and conquer nature. Both rudimentary and complex themes are touched, and subjects run the gamut from the symbolic and early use of fire to its harnessing and calculated management, such as the combustion needed for a rocket launch. Kevin Cooley also engages historic even romantic notions of colonial exploration of the American West, and find ways to elevate every day objects such as box fans and helium balloons by giving them human-like characteristics through movement and interactions.

At times the work seems simple; more correctly stated it is pure, elemental, and instantly communicates. It is also deeply layered with truth often guised or simplified by abstractions of technology. Contradiction and equal opposition is also used to drive our thought. Controlled Burn 1, for example, is primal and intense. Even in our contemporary world we humans have an instinctual draw to fires. In Cooley's Controlled Burn 1 we are met by two frames: in one brilliant orange flames give rise to grey billowy smoke against black ground, and in its partner-image heavy smolder overwhelms flame, and thick ripely smoke moves like tar-black waves upward agains a snow-white ground. This is one of the most potent works in the series. It gives foundation and becomes symbolic for what would become more sophisticated exploration, control, management, and division. Somehow lurking in the back of our minds is the thought that these works represent human-imposed systems, and somewhere these elements and forces of the natural world exist without control- or could.

About the Artists:
This is Los Angeles-based artist Kevin Cooley's second solo exhibition with The Kopeikin Gallery, which runs concurrent with Kevin Cooley: Elements at the Museum of Photographic Arts in San Diego. Cooley's photographs were recently acquired by the 21c Museum (Louisville, KY), and he is a 2013 recipient of a Center for Cultural Innovation ARC Grant (Los Angeles, CA). Phillip Andrew Lewis is an interdisciplinary artist based in Chattanooga, Tennessee. He is a recipient of a 2012 Creative Capital Grant for his ongoing project SYNONYM. Both artists were in residence at The Bemis Center for Contemporary Arts, (Omaha, NE) where they met and began working together. Cooley and Lewis' first collaborative commission Through the Skies for You won the 3-D Award at ArtPrize 2013 (Grand Rapids, MI) and their exhibition as a collaborative team will open at Zeitgeist Gallery (Nashville, TN) March 2014.

For more information on the exhibition, please visit Kopeikin Gallery


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New Yorker Review: Allen Frame at Gitterman Gallery

Posted By Administration, Monday, January 6, 2014
Updated: Wednesday, January 8, 2014
Image

Allen Frame
Dialogue with Bolaño


Through January 11


This exhibition has gotten good press coverage, including mentions by the New Yorker Photo Booth, DART, and L'Oeil de la Photographie, among others, and this attention is deserving. Images selected for exhibition were chosen to celebrate Allen Frame's work, but also highlight how it intersected with the work of the Chilean writer Roberto Bolaño. Included works of the exhibition were covers to Bolaño's fiction and poetry or are in the same vein as the allied work. The two artist shared a way of seeing the world. The match between the photographer and the writer were made after the fact, and while this was Frame's only foray into commercial work he admitted in an interview with American Suburb X in November that "Having been able to find a kind of voice that I identify with in my generation is so satisfying."

New Yorker Photo Booth

L'Oeil de la Photographie

DART


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Art in America Reveiw: Mary Mattingly at Robert Mann Gallery

Posted By Administration, Saturday, January 4, 2014
Updated: Wednesday, January 8, 2014

House and Universe

We're probably doomed as humans if we don't start thinking in a posthuman way. -Mary Mattingly


"House and Universe," Mattingly's third solo show with Robert Mann, reflected the artist's environmental concerns in two sculptures and 15 photographs, many of which document her public projects. The photo Flock (2012), for example, features one of her floating structures. Atop a platform, two geodesic domes covered with white tarps and surrounded by containers of plants are engulfed by an expanse of sky and sea. Continent (2012) shows a barge and rafts subsumed in a murky fog; a sharp edge between the rippling waters and the solid background, among other Photoshopped aspects of the image, reveals the barren surroundings as an aesthetic frame. The unmoored vessel thus emerges as both a symbol of vulnerability and a privileged vantage point in these and several other of the show's photographs, which evince a romantic tendency eclipsed by sheer purpose and will in the artist's mobile environments. Yet, if Mattingly's intentions are resolutely political, her photographs nonetheless evoke the spiritual. Take the serene vision of escape in For a Week Without Speaking (2012), a photograph depicting the artist rowing in quietly rippling waters, her bundled possessions atop wooden shafts, in the autumnal glow of a forested bank.

Full review by Kareem Estefan in Art in America

Mattingly melds the worlds of reality and invention in her work. Research, study, and careful excecution of functional objects that could sustain life in a post-apocalyptic world are now fused into created environments; photographs result, and the work hovers in a space between believable and surreal. Still, a sense of foreshadowing can't help but enter our minds, for as Mattingly admitted herself in a recent Art:21 interview, We're probably doomed as humans if we don't start thinking in a posthuman way. The work extends in a web-like way outside the confines of the gallery or performance spaces she has used. Mattingly created a catalogue of her possessions on a website that charts their source elements; this reveals the extent of footprints that can be made by a single global habitant, and a conscientious one at that.

For more information on the artist's work and exhibition history, please visit Robert Mann Galelry

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Artist's Opening Reception: Andrew Moore at Yancey Richardson Gallery

Posted By Administration, Saturday, January 4, 2014
Updated: Wednesday, January 8, 2014

ImageDirt Meridian

Exhibition Dates: January 9 - February 15, 2014

Opening Reception with the Artist:
Thursday, January 9
6:00 - 8:00 pm


Andrew Moore, The Yellow Porch, 2013, courtesy of Yancey Richardson Gallery
Andrew Moore is known for his ability to capture the layered truth of place. Time and history echo in his frames. While his work on Cuba and Russia are most well remembered, more current bodies of work have focused closer to home; his last series was on Detroit, and this new body of work focuses on the longitudinal line that divides the East and West. The 100th meridian west runs through North and South Dakota, Nebraska, Kansas, Oklahoma and Texas, and is historically regarded as the geographic beginning of the American West. This land has a sorted past, and an equally challenging future. As always, there is something mythic to Moore's frames, and though the territory's remains are skeletal there is still an inherent heroism to them. The barren lands and abandoned homesteads become central figures to the series, which was begun in 2005 and continued. By 2011 Moore took to the air in a crop duster and eventually mounted a camera to its strut. The resulting series combines large format ground images with ariel digital ones. These vestiges and landscapes open narratives onto the region's struggle with climate change, energy exploration, resource management, and food production.

For more information on this exhibition or to preview the works from the series, please visit Yancey Richardson Gallery


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