Robert Rauschenberg, one of the greatest contemporary artists, is exhibiting at Galleri Faurschou. This exhibition is a selection of his latest works, the magnificent collages of pigment transfer on polylaminate entitled Scenarios. Exhibited are works referring back to his lifetime production, including the early silkscreens from the 1960’s, some of which were exhibited at Galleri Faurschou in 2005.Scenarios are Rauschenberg’s images of America. Not the usual imagery from soaps and other US surface culture, these works portray the anti-commercial and the everyday America. In the huge collages we see the raw graffiti painted walls, the deserted street corners with rubbish and fading advertising billboards. Presented to us is the agricultural America, the road systems, the wooden and decaying road signs and the empty bottles on the table in the diner. Visible is also the desolate building sites with gutters and roadwork cones. Also portrayed is New York’s Chinatown with its signs in Chinese, the colourful shop windows with toothpaste, teas and other boxes stocked in neat rows.Presented to us is America post 9/11, where the American flag re-appears, not simply as a symbol but also as a stripy pattern. The powerful visual effect of these scenarios is exactly the aesthetic orchestration of the multiple images of reality, far removing the works from mere documentary. For example Rauschenberg inserts a close-up of a road stripe, a bike reflex, a curtain with a cherry, abstract colour parts or a graphic logo in the overall composition as a counterbalance to the visual theme. The collages are thoroughly composed paintings with repetitions, reflections and displacement of imagery. Present in these works is an incredible visual rhythm due to the tight balance between figure and the white surface keeping the collages firmly fixed and providing the eyes with fields in which to rest. In his 80s, Robert Rauschenberg is in great form. Most striking about Scenarios is the artistic excess and almost cunning flair, still characteristic of Rauschenberg. Rauschenberg’s works have the strength of a whole life dedicated to images and the ease of a master’s creation. References are humorously made to earlier works, for example the rooster on the house end and the running hen known from Rauschenberg’s Combines as with fire hydrants, water tanks and oversize insects. In a sense, in these scenarios all is known and yet so fresh and new. Never before have images of everyday life and the non-polished America been so optimistic. Great warmth radiate from these works, an appreciation for the real, to life as it is lived and displayed with focus on that which is not usually emphasised. A warmth that immediately transmits to the viewer when encountering these magnificent works.
Dear Friends of the Gallery,We are delighted to announce the beginning of our collaboration with William Cordova and the opening of his first solo exhibition Pálante at Arndt & Partner Berlin. We are looking forward to welcoming you and your friends to the opening on Saturday, 28 Oktober 2006 from 6 to 8 pm.We are looking forward to your visit!With best regards,
via Giordano Bruno 24 b
35124 Padova ITALY
PH. and F.: +39 049 8809.507
20 – November 25, 2006Opening Reception: Friday, October 20, 6-8pm
Schroeder Romero is pleased to announce Proof of Mary a solo exhibition of new work by Lordan Bunch. Proof of Mary consists of three complementary suites of new paintings. This is his second solo exhibition with the gallery. Two bodies of work, one titled Last Pictures and the other titled Markers are comprised of images of women the artist found on gravestones in two different cemeteries near his home in Los Angeles. Bunch became intrigued by the photographs that families chose to decorate headstones and vaults of their loved ones. These oval images or photo ceramics/memorial photos can be found in cemeteries throughout the Western world and come from an Eastern European tradition. Fascinated by the memorialization of life during death, Bunch, in the series Markers, has painted small-scale portraits directly onto Ouija boards. The Ouija board is often used to try to make contact with the dead and the oval-shaped portrait is painted in the center of the game board where the players’ hands typically begin the game. The scale and palette of the painting is true to that of the original source image – painting in grisaille from a black and white photograph and a using a full palette from a color photograph. Last Pictures is made up of oil paintings on canvas that are painted so realistically that they resemble the memorial photos themselves except that the scale of the paintings are life size – much larger than the original source material. The artist is attracted to the awkwardness and formal beauty of these found images. Some faces have peculiar expressions, some women are in their wedding gowns, and one is depicted in her nurse uniform, all are depicted in their prime. Bunch draws out the existence of the individual but retains the mystery of the original source. A third body of work will be presented in the small gallery. 01-03 is Bunch’s effort to create a portrait from a postage stamp-sized source photo taken from a medical textbook published in 1910 depicting women with syphilis. The suite of canvases were selected from the eleven attempts the artist has created over the last four years.Bunch has had numerous solo exhibitions and recent group exhibitions include Yet Another Reality at the Contemporary Art Galleries at the University of Connecticut and Photography on Painting/Painting on Photography at the Museum of Contemporary Photography in Chicago.
637 WEST 27TH STREET GROUND FLOOR
NEW YORK, NY 10001(212) 630-0722 F (212) 6300716
Newman Popiashvili Gallery
504 West 22nd Street
New York, NY 10011
tel: 212.274.9166 ?
Kristina Ask, Lone Bank, Ursula Reuter Christiansen, Trine Søndergaard,
J.H. Engström, Thorgej Steen Hansen, Astrid Kruse Jensen, Sabina Mlejnek,
Tomas Lagermand Lundme, Jonas Liveröd, Viktor Storjord, Morten Nilsson,
Lars Rank, Husk Mit Navn, Knud Odde, Cai Ulrich von Platen, Tanja Rau,
Nina Strand, Trung Ky-Danh Vo and Mette Winkelmann.
opening reception october 26th 2006, 5 – 8 pm
october 27th > november 25th 2006
curated by Tomas Lagermand Lundme
Openning Reception thursday 26/10 5-8PM