The Jack Hanley Gallery will mount its final show in the gallery’s San Francisco location, April 3 – 28, 2010. The show will include new work from a selection of gallery artists.
The Jack Hanley Gallery opened in downtown San Francisco in 1990 showing emerging international artists. After closing for two years, from 1996 – 1998, the gallery reopened in a new location in the Mission District of San Francisco. Continuing to focus on working with emerging international artists, the new incarnation of the gallery helped to establish the careers of a number of emerging San Francisco artists, as well. In December 2007 Jack Hanley Gallery opened a location in New York. At the end of April 2010, Jack Hanley Gallery, San Francisco will close thus allowing for the further growth of an innovative and focused program at the New York location.
The Jack Hanley Gallery, New York, is pleased to present a solo show of the work of Marie Lorenz, titled SHIPWRECKS. With a boat as simultaneous subject and object, both a manifestation of the psyche and tool by which to wade through its tides, Marie Lorenz’s work circumnavigates uncertainty to heighten one’s awareness of place. In this show, Lorenz synthesizes real peril and sophisticated portrayal. A boat’s wreckage enters the physical space of the gallery revealing premonitions, requiems and all that stands between.
The centerpiece of the show is a video that documents Lorenz’s actual shipwreck off the coast of Italy last year. Shot from the capsized perspective, the shore is barely visible; the horizon flipped entirely on its side abstracts the heaving seascape. The only sound heard is that of a breath changing from a pant to a desperate choking. Put in the mind of climax; we think we are watching someone die. A rubbing of the recovered boat will hang in the gallery as an epitaph- at once the end and the sum. Like relics of an archeological find, a series of small collographs tie the work together. Each one is a miniature toy boat, smashed and printed. In effect, they are artifacts of representation, a peeled skin of three dimensional form. They are actual objects, but the toys themselves were representations. Flattened out and inked to define a subtle relief, the collographs call to mind a peeled abstraction of a Mercator projection.
Marie Lorenz’s artwork has long been about exploration and narrative. In her current and ongoing project “The Tide and Current Taxi”, Lorenz ferries people throughout New York in a handmade boat. She studies tidal charts of the harbor and uses the tidal and river currents to propel the boat. A blog that she publishes (tideandcurrenttaxi.org) tells the stories of each trip. In her own voice, they are parables about the changing city, parallels between web navigation and the real life navigation of Lorenz and her participants.
Liana Dragomir. Rachel Goodyear. Eleanor Moreton. Megan Sullivan
Jack Hanley Gallery is pleased to present a group showing of Liana Dragomir, Rachel Goodyear, Eleanor Moreton, and Megan Sullivan in NYC at the Watts Street space, opening Saturday, November 14th and continuing until December 24th. Whether through the dream-like rendering of the mundane, the careful construction of peculiar coincidences, or the confusing of the patriarchal/matriarchal dichotomy, these four women penetrate the psyche and twist our constructed social norms that claim “reality.”
Rachel Goodyear’s drawings present captured moments in which characters reside within an existence where social etiquette no longer, or maybe never, applied. Set against a stark white background, the figures are seemingly devoid of emotion or stare blankly in resignation. Subverting norms of a different kind, Eleanor Moreton’s paintings call into question the relationship of authorative women and symbolic masculine attire. She seamlessly glosses together polemic historical images to create new potentials. In a similar vein, Megan Sullivan sources contemporary masculine aesthetics in her work. Drawing from the iconography of young men found in magazines, her pieces move on the verge of farce and enthusiastic passing fancy. Liana Dragomir’s subjects are even further removed from us; depicted relaxing in hammocks or thumbing through books, their faces are blurred to preserve their anonymity and to allow us to imagine ourselves savouring such moments of “reality.”
The Jack Hanley Gallery is pleased to announce an exhibit of work by Bjorn Copeland. The show will include new work by the New York-based artist and Black Dice founding member.
The sculptures and works on paper included in the exhibit are the products of accumulated, found detritus and debris, collected over the last few years along the artist’s route to his studio. By surrounding himself with large amounts of stimuli (trash), Copeland creates a studio environment for filtering and soaking up information. Decisions that were made by the original designer of the, now discarded, products or product packaging that he collects, become the starting point for Copeland’s assemblages and collages. These works, in turn, begin to inform and dictate the outcome of the next pieces he produces. With one idea based on the last, an alternate version of the environment that the work was drawn from is presented.
Bjorn Copeland’s work was shown at Jack Hanley Gallery, New York in 2008 and has been exhibited at P.S.1, Daniel Reich Gallery and D’Amelio Terras in New York, at Susanne Vielmetter in Los Angeles and at Galerie Daniel Buchholz in Cologne. Copeland received his BFA from the Rhode Island School of Design.