CYNTHIA-REEVES: Art Toronto 2013 Opens Tonight I “CHOATE/ CHAOS” Opens Nov 1 in Brattleboro

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O P E N I N G T O N I G H T

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Metro Toronto Convention Center
255 Front Street West, Toronto, ON, Canada
October 24 – 28, 2013 – Booth 836

CYNTHIA-REEVES launches its Fall 2013 art fair lineup with Art Toronto, Canada’s premier modern and contemporary art fair, opening with a VIP preview on October 24th and running through Monday, October 28th. Expanding its international initiatives in both public art and art fair showings, CYNTHIA-REEVES will proudly debut artworks by two fellow Canadian artists, Catherine Farish and Yechel Gagnon, along with work on paper and sculpture from American artist, Jonathan Prince, and award winning documentary photography by Chilean artist Tomas Munita, among other featured artists.

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A recipient of the Grand Prize for Printmaking in Quebec and the Acquisition Award from the City of Montreal, Catherine Farish’s signatory work on paper explores abstraction and text in a concise palette. Farish’s discrete works each tend to focus on a principal color, from earthy brick reds to muted blues and greens and vary in size from intimate works installed in a series, to larger singular pieces. While the works read abstract, Farish sometimes incorporates text, albeit in an elusive way, where the words function visually in her composition, rather than for their meaning. She has used many different paper types for her printmaking, from Japanese papers to more unusual materials, like perforated sheet music scrolls previously used by automatic pianos. Farish lives and works in Montreal.

PDF exhibition catalog available

Like Farish, Yechel Gagnon is drawn to unusual materials; in Gagnon’s case, quotidian plywood as the basis for her bas-relief sculptures. Working her material of choice with power and hand tools, Gagnon removes layers of wood and glue to reveal hidden patterns and create gestural and contemplative works.

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Yechel Gagnon, Himalaya, carved custom plywood, 30 x 78 inches, 2013

Inspired by the unique nature of each plywood sheet, Gagnon is in constant "dialogue" with her material, at times allowing unique features to guide her creative process and at other times imposing her aesthetic vision upon the wood. Gagnon states, "The wood stratification contains an intriguing vocabulary of knots, textures, hues and manufacturing defects that creates their character. In the beginning I have to take them into account but soon I am carried by these elements which stimulate my imagination." In this newest series, Gagnon incorporated color, featuring organic blues, soft creams and peaches in addition to the carved wood. Gagnon is completing a pair of public art showings in Quebec, including a recent installation of mural sized wood-bas reliefs at the Saint-Anicet Church in Quebec.

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In contrast to Farish and Gagnon’s abstraction, Santiago- based photographer, Tomas Munita’s poignant and lyrical photographs offer a window into myriad cultures. He explores ritual, daily life and crisis, capturing his diverse subjects with arresting beauty and delicacy. In his pictures, the balance of rawness with humanity has drawn critical acclaim for his affecting documentary work done while on assignment for the New York Times, National Geographic, and other publications. Working with Michael Kimmelman, the acclaimed New York Times architecture critic, Munita won the All Roads National Geographic Award for his work on Lost Harvest-the death of the Loa River. Most recently, he won the Chris Hundros Fund award, which he used to expand his fine art photography through a three-month residency in Patagonia. His work is published regularly in The New York Times, Geo, Time, National Geographic, Courrier International, Le Monde, Stern, Der Spiegel, Sunday Times, La Tercera and many others.

CYNTHIA-REEVES will present the newest work from Torn Steel sculptor, Jonathan Prince, whose lexicon continues to stretch the "seemingly" physical limits of rigid material, such as stainless steel. The artist works explore the tension between the perfect and the organic, the whole and the broken, which remains a seminal thesis in Prince’s sculpture. "For me, the ideal representation of physical perfection is Euclidean Geometry, the translation of mathematical axioms into pure forms. The attenuation of those forms by breaking – tearing – scarring – pixelating – etc., all expose our humanity – the idea that try as we might, we are anything but perfect. Yet, I like to believe that the breaks, tears and scars can all possess an inherent beauty of their own."

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Jonathan Prince, Circular Stack, stainless steel, 10 x 10 x 6 inches, 2013

For Circular Stack (2013), a pedestal-based work, the artist "pixelated" the tubular form’s side surfaces, an exacting process in which he individually welded and polished hundreds of steel rods. A pair of his black Zimbabwe granite sculptures, Red (2007) and Umbra (2008), are currently on view at Hudson River Park’s Pier 64, in Prince’s fourth public art exhibition in New York City. Entitled LIGHT / DARK, the installation will remain on view for six months starting in October, and is a collaboration with CYNTHIA-REEVES Projects, ABC Stone, and the Hudson River Park Trust.

Art Toronto exhibiting artists include: Sarah Amos, Catherine Farish, Yechel Gagnon, Tomas Munita, Jonathan Prince, Ray Ruseckas and George Sherwood. For more information, and/or to request high resolution images, please contact the gallery at: 212.714.0044 or visit us online at: cynthia-reeves.com.

CHOATE / CHAOS: CYNTHIA-REEVES Pop Up Exhibition Program
Begins in Brattleboro, Vermont

1003.jpg Magdalena Fernandez, 2iPM009,Video installation with sound, 1:50 min., Digital animation, 2009

CYNTHIA-REEVES launches a pop up gallery space in Brattleboro, Vermont on November 1, with Choate / Chaos, an exhibition featuring the work of Shen Chen, Michael Mulhern, Lee Jung Woong, Magdelena Fernandez, Oliver Marsden, and George Sherwood. This inaugural exhibition is the first of several curated shows that will be on view over the coming six months at 47 Flat Street, Brattleboro, Vermont. The opening reception from 5:30 – 8:30 p.m. is in tandem with Brattleboro’s First Friday Gallery Walk.

Choate / Chaos explores the tension between the two states as seen through the lens of these six international artists in their respective media of painting, video, and sculpture.

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My work is both ordered and random. The brushstrokes follow the passage of time as they layer and fill the canvas. This fullness especially emphasizes its singularity; an external fullness that realizes the realm and power of the internal spirit. — Shen Chen

Shen Chen (b. 1955) beautifully patterned paintings arise from his expansion of traditional Chinese ink brushwork. Chen has developed a mastery over his medium, as shown in the rigorous, unerring brushwork through his extended study of meditation and control of breath. Chen’s work was recently seen in Buddha’s Trace at the Kunstmuseum Bochum in Germany; Chinese Abstract: Slow Art at the Singer Laren Museum in The Netherlands; and in Here and Now: Chapter III Towards Transculturalism at the Museum of Chinese in New York City. Other international venues hosting solo exhibitions by the artist include the China National Museum of Art, Today Art Museum, San Shang Museum of Contemporary Art, Shanghai University Arts Center, The Queens Museum in Art in New York and the Nantong Museum of Art. Chen’s work was also the subject of two critical essays this year, including "Beyond Abstraction", a profile in Art in America by Senior Editor, Richard Vine, and "Illuminating the Invisible" by leading international critic, Robert Morgan. Chen divides his time between New York City and Beijing.

Michael Mulhern (1940 – 2012) was well known for work that explores viscosity and density in his mural-scale, monochromatic paintings. He considered painting a synthesis of object and surface. Working with the paper or canvas on the floor, Mulhern used the random contours of the paper and the flowing and pooling of his paint to create spectacular surfaces. It is the embrace of the disorder and his keen appreciation of a tactile surface that allowed Mulhern to create these incredibly rich compositions. An ardent proponent of minimalism, he pursued a dynamic series of paintings utilizing only black and aluminum paints for decades.

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The National September 11 Museum has recently acquired two of Mulhern’s Ash Road paintings, the monumental monochromatic work referenced in the following comment by art critic Karen Wilkin: …despite the gritty beauty of his pictures and despite their sensuous painterliness, Mulhern’s blanketing grays have still other connotations for anyone who saw the smothering layers of grey debris in Iower Manhattan after September 11…The way the wrinkles in Mulhern’s large works on paper simultaneously function as drawing incidents and as records of a difficult history reinforces such connotations. Yet none of this explains or determines the power of Mulhern’s recent paintings. That they are richly associative is undeniable, but it is their raw, physical "abstractness" that carries these associations, the nuances of color and surface, the shifts of gesture and line, and the adjustments of interval and density that engage your eye and allow, mysteriously, a wealth of wordless ideas to assert themselves
1007.jpg "The work of Magdalena Fernández has been associated, not without reason, to one of the most effective Venezuelan artistic traditions: that of optical and geometric abstraction. The similarity between some of her seminal works and such precedents as the works of Jesús Soto, Gego, and Alejandro Otero inhabits the beautiful echoes of her creations, and while it is true that she is determined to inscribe them within the traditions that these artists have founded, it is also true that she has transformed them subtly but drastically." (Museum of Latin American Art, 2012)

In Magdelena Fernandez’s (b. 1964) video piece 11dm004 Serie Dibujos móviles, she explores the interaction of sound waves through water. Her video documents the distortion of a simple grid pattern under a film of water: as sound reverberates through the water, the lines of the grid are disrupted, creating a visual manifestation of the sound waves. As the sound dissipates, the grid is restored – a tension point between order and disorder. CYNTHIA-REEVES has exhibited Fernandez’s work in H2O: Film on Water at the Newport Mill, Newport, NH and in New York City in H2O: Film on Water Redux. Fernandez lives and works in Columbia. This project is presented in collaboration with Douz and Mille.
To continue reading the Choate/Chaos press release, please click here:

NEW ADDRESS: CYNTHIA-REEVES, 47 Flat Street, Brattleboro, Vermont

For more information regarding the artwork represented by CYNTHIA-REEVES and
our upcoming exhibitions and curatorial projects, please visit our online gallery at:
cynthia-reeves.com

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