September 17, 2015 —
September 20, 2015
For Expo Chicago 2015, Honor Fraser Gallery will present artworks from the 1970s to the present by Jeremy Blake, John Chamberlain, Victoria Fu, KAWS, Kenneth Noland, and Kaz Oshiro. Honor Fraser Gallery will be located in booth number 508.
Jeremy Blake's (1971-2007) opulent DVDs unfold in seamless and dream-like loops. Using various graphics programs, photographs and film footage, he rendered and altered his images with layers of line and translucent color using techniques inherited from drawing and painting, as well as lighting and editing effects suggestive of film. Berkshire Fangs (2001) is part of a trilogy of DVDs centered around a fictional anti-hero whose rebellious behavior leads to a psychedelic epiphany. Blake's 2004 work Winchester Redux is included in EXPO VIDEO.
Inspired by Abstract Expressionist paintings, John Chamberlain (1927-2011) began making his experiments in sculpture in the late 1950s. By the 1960s, he had adopted his signature car parts as a primary material. Reveling in the forms of weathered and crushed bits and pieces of these industrially produced car parts, Chamberlain helped expand and redefine the direction of contemporary sculpture. Gangster of Love (1985) is a monumental, volumetric drawing in space that demonstrates Chamberlain's ability to weave powerful and poetic sculptural images from the detritus of contemporary life.
Victoria Fu (b. 1978) uses 16mm film, installation, photography, sculpture, sound, and video to explore the virtual space of moving images and our haptic engagement with digital images. Her works address the physical and visual experience of digital images and touchscreens. Fu's neon drawing Ribbon-Swipe (2015) depicts the eponymous action that has become habituated through our use of handheld digital devices. In Untitled (double 1) (2015), Fu presents fragmented fields of color in two layered picture planes in a two dimensional representation of digital layering.
Rendered in bright colors or stark black and white, KAWS (b. 1974) interweaves multiple familiar cartoon characters that are frozen in different states of movement, suggesting a core sample of pop cultural references that have been manipulated just short of illegibility. Through his stylized adaptations of icons of American animation, he accesses a collective consciousness to mirror our ongoing addiction to the culture industry, an addiction that is fueled just as much by our own acceptance of its machinations as by its own intentions.
Kenneth Noland's (1924-2010) twin concerns of color and shape led to a direct relationship between the painted surface and the outer shape of the canvas in works like Lapse (1976). Until the mid-1970s, Noland explored the possibilities of symmetry and structured color within rectilinear shapes. His investigations led to the pursuit of unbalanced non-representational paintings that united color and shape in an unprecedented way. The resulting paintings reveal a diversity of structural and coloristic activity within a fully asymmetrical mode.
Kaz Oshiro's (b. 1967) new "broken paintings" recall the art historical strains of monochrome and color field painting, rejecting the flat space of traditional canvases for precisely wrought sculptural forms that appear to have been forcibly folded. Rather, Oshiro's paintings are deliberately formed with mitered joints that relegate individual artworks to architectural corners, while diptychs and triptychs jut out from the wall as though the paintings are bending up against one another to form bas reliefs.