Band of Bikers

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In the basement of an apartment building in Manhattan, Scott Zieher discovered a pile of photographs among the discarded effects of a recently deceased tenant. Exhibited for the first time at ZieherSmith and presented in a new publication of the same name from powerHouse Books, these photographs from circa 1972 offer an intimate portrait of a group of gay bikers in the city and the woods, and a touching snapshot of a historical subculture at its carefree zenith.

The photographs bring into focus a brief, specific period of relative innocence, when middle-of-the-road Americans more often than not failed to perceive the homoerotic undertones of their most heterosexual of institutions. With conceptual light cast by issues ranging from anonymity in homosexuality and underground motorcycle chic to vernacular photography’s pop-culture ramifications, a warm and generous spirit of camaraderie pervades this subterranean survey. Like a real-world set for Scorpio Rising casually captured by an unpretentious extra, this found cache of old-school, leather party snapshots attains archeological significance.

The original individual photographs, as well as the book, will be available throughout the exhibition. The powerHouse publication also includes an essay by Scott Zieher.

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Eddie Martinez @ ZieherSmith

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In his recent paintings, Martinez expands an ever-widening visual vocabulary. Thoughts this cacophonous and grandiloquent do not translate to mere language, they are the stuff of dreams. Here, exclamations of color are object enough. Still lifes explode with vibrant flora; a tugboat is distilled to its most elemental, abstract parts; imperious tabletop constructions serve as psychologically charged landscapes or transform into a thought bubble’s torrential rant; and, finally, where the figure emerges, ducks and skulls shed a knowing tear, while bright eyed, helmeted child warriors stand guard. All boldly conceived in thick, juicy clots of pigment— these hieroglyphs and barely delineated figuration teeter on the edge of decipherability.


One of three six by nine foot canvases features four figures holding court at a glimmering green table strewn with shapes and colors, makeshift fragments created with Martinez’s signature urgency. An empty chair to the left of the scene invites the viewer to join in and let the gamesmanship begin. In direct challenge to the bright detritus of the aforementioned works are two sets featuring new modes of working: all white tableaux whose gestures come straight from the tube and black canvases incised to reveal previous layers of subtle coloration, reductive scratchiti of primal immediacy.
Accompanying the suite of paintings are works on paper, small pieces that are crucial to Martinez’s practice, and a suite of hand-colored etchings produced in a collaboration with Forth Estate. Martinez’s work was recently seen in “New York Minute” at MACRO, the Museum of Contemporary Art, Rome and has been included in shows at Blum & Poe, Deitch Projects, Peres Projects, Alexander & Bonin, and the Deste Foundation, among many others. He was named one of 2009’s top fifteen young artists by Interview Magazine. This is his third solo exhibition at ZieherSmith.

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Eddie Martinez

Matt Stokes

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ZieherSmith presents the New York debut of these are the days (2009), a film installation by British artist Matt Stokes originally commissioned by Arthouse, Austin, Texas, and the launch of the accompanying catalogue designed by British collective, Abake. Inspired by punk rock subcultures, these are the days is the artist’s first institutional commission in the United States.

In 2007, Arthouse invited Stokes to create a new film project with ZieherSmith acting as co-producer. these are the days is the result of Stokes’ close work with communities connected to Austin’s music scene and his extensive research into anti-establishment musical genres, particularly punk rock. Investigating the dichotomies expressed within earlier and later punk communities, his research ultimately led to the creation of the dual channel film installation, an archival installation exhibition exclusively at Arthouse, and the publication about both.

The first film features footage from a specially organized punk show, staged by Stokes, at the Broken Neck, an alternative venue in Austin and filmed by renowned cinematographers Lee Daniel and P.J. Raval. The second film, created in response at a recording session at Austin’s Sweatbox Studios, depicts a makeshift band’s musical reaction to the event footage. A reversal of roles between audience and performers, the work examines the concepts of inspiration and response. Punk as it was then and as it is now, different yet the same–these are the days.

Matt Stokes’ artistic practice is marked by anthropological enquiry and an interest in happenings or informal movements that bind people together. Taking a variety of forms — from organizing events and assembling archives to making films and creating sculptural installation — Stokes’ works are often collaborative in nature and sometimes take place outside the traditional gallery space. Music subcultures have been central to the development of his most recent projects, which have focused on their ability to shape lifestyle, beliefs and create community. Northern Soul, acid/house and black metal are among the genres of music he has explored, poetically revealing music’s intrinsic ability to create fellowship through devotion or the quasi-religious experience of dance.

these are the days was first presented in 2009 at Arthouse and at 176 / Zabludowicz Collection, a major new contemporary art space located in London. The London show also featured The Gainsborough Packet (2009, co-commissioned by 176 and the Baltic Centre for Contemporary Art), which will screen in the back room of ZieherSmith. An editioned dubplate featuring music from both these are the days and The Gainsborough Packet is also available. The Abake-designed catalogue will be first released at the opening and includes documentation of both the film piece and of ephemera from the 1970s and 1980s related to the punk, post-punk, and DIY movements in Austin, material that was presented as an ambiguous archive at Arthouse.

Matt Stokes was born in 1973 in Penzance, England and currently lives in Gateshead, England. He is the 2006 recipient of the esteemed Beck’s Futures Prize, awarded by the ICA, London and is currently on the shortlist for the 2009 Northern Art Prize. In 2009, he was also included in solo and group exhibitions at the Baltic Centre of Contemporary Art, Newcastle, and the Lentos Museum, Linz, Austria, among other venues. Special thanks to Arthouse, the Arts Council England, Michael A. Chesser, Johnna and Stephen Jones, and Julie and John Thornton.



ZieherSmith

Grand Reopening

ZieherSmith is pleased to announce our Grand Reopening in a 3500 square foot, storefront gallery at 516 West 20th Street. Designed by Dufner Heighes Architects and constructed by BILT/DFI, the new space more than doubles the size of our previous location, expanding the ability to provide a visible and welcoming forum for contemporary art.

Grand Reopening features a selection of ZieherSmith’s represented artists including new, large-scale work by Wes Lang and Eddie Martinez, a kinetic installation and collage-work by Javier Piñón, paintings by Liz Markus and Chuck Webster, and sculpture by Rachel Owens and Mike Womack. Adorning the new façade is a Tucker Nichols’ banner, featured on the postcard, and inspired by an existing drawing by the artist and the following clause in the gallery’s new lease: Tenant shall not… install any banner, flag or the like on the exterior of the Building without the specific prior approval of Landlord other than any banner with the words “Grand Opening” or words of similar import, which banner shall be permitted during the first ninety (90) days of the Term only.

The gallery’s forthcoming schedule will include exhibitions by renowned French artist Stéphane Calais; the New York debut of British artist Matt Stokes’s these are the days, a video installation co-produced by ZieherSmith and Arthouse, Austin; and book launches for the Stokes catalogue as well as Wes Lang’s The Paradise Club and Scott Zieher’s Band of Bikers.

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