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David Leggett’s new mix ed-media paintings wrestle with complicated feelings towards his two obsess ions\, painting and hip-hop\, as he confronts race\, sexuality\, fame and c lass in humorous and ambiguous situations.

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Leggett’s show in Gallery 1 at Western Exhibitions opens on Friday\, January 27th\, 2012 with a free public reception from 5 to 8pm and will run through March 10\, 2012. G allery hours are Wednesday through Saturday\, 11am to 6pm and by appointmen t.

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David Leggett’s ultra-vivid canvases mash- up a love-hate fascination with both machismo in hip-hop culture and the un yielding influence of 1980s German painters in current contemporary paintin g. No one is sacred in Leggett’s work – from Precious to Rick Ross to Gerha rd Richter to the artist himself – his satirical images are often punctuate d by barbed comedic one-liners\, a strategy influenced by the stand-up come dians he listens to in the studio. Leggett his manipulation of cartoon imag ery and caricature reveals the influence of Chicago Imagists like Karl Wirs um and Jim Nutt. His use of craft materials\, however\, complicates his rel ationship to painting as googly eyes\, rhinestones\, pom-poms\, felt\, glit ter\, gold and silver leaf add a layer of absurdity to Leggett’s reverence for his painting heroes. In the past year\, Leggett’s studio suffered a dev astating flood\, destroying some 50 finished paintings. States Leggett: “Wh en I saw all my paintings damaged from the leak I couldn't help but notice how small the paintings were. I felt I wasn't challenging myself. It felt l ike what I was doing wasn't important.” This show\, post-flood\, will featu re Leggett’s largest canvases to date.

Burr opens the show with a graphic depiction of a white woman performin g a sex act on a black man contrasted with an image of Theo Huxtable\, the lovable son from “The Cosby Show” (the 1980s are a recurring theme in this show). The title of the painting\, “Burr” is swiped from rapper Gucci Mane to describe how much jewelry (ice) he sports. In this painting\, Leggett us es the word to signify his attraction/repulsion to the gangsta culture that ’s been prevalent in hip-hop for the past twenty years. As for “The Cosby S how” reference\, Leggett states that he’s “curious why people aren’t puttin g the Theo Huxtable experience in paintings”.

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The Chicago Dog pays homage to Sigmar Polke\, the ‘80s German painter whom Leggett feels is slighted by current contemporary paint ers in favor of the cool machinations of Gerhard Richter. In this work\, Le ggett haphazardly stretches a large sheet of crumpled paper over an already -stretched canvas and on top\, collages drawings of three white blondes (re miniscent of R. Crumb’s bawdy females)\, while sausage links tumble down th e canvas across the women’s faces\, a classic ‘80s compositional strategy.

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Dead and Stank is a salmon pink field punctuated by candy-red dots (a la Polke’s appropriated Ben-Day dots) with the title phrase scrawled faintly at the top. “Dead and Stank” is a phrase that means tired and old (coined by Leggett’s older sisters) an d he utilizes it here to describe his uneasy relationship to both hip-hop a nd canonized German painters.

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That's wer e they made me at might take its color scheme from late ‘80s rap videos such as TLC’s “What About Your Friends” or DJ Jazzy Jeff and the Fresh Prince’s “Parents Just Don’t Understand”. Like the text scrawled ato p the garish pinks and blues\, a line from a Jay-Z tune “Niggaz tryin’ to b ring the ‘80s back”\, Leggett is trying to combine 1980’s painting techniqu es\, from both the street and the white cube\, on top of stained raw canvas \, that Greenberg-ian ideal.

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In A Natura l Death\, the word “Jackson” is sweepingly splayed across a d ark canvas splashed with white and pink splotches – again mashing graff-sty le with AbEx technique and combining the myths of Jackson Pollock and Micha el Jackson. The twist here\, however\, as denoted by the black glittery fak e skull that is perched on top of the painting\, is that Leggett finds hims elf more interested in the after-lifes of these artists - how their fame\, after death\, is now more intoxicating.

The show at Western Ex hibitions focuses on recent paintings\; his concurrent show at the Hyde Park Art Center (January 15 to April 29\, 2012) highlights hi s drawing practice. For the past year\, Leggett has created an artwork a da y for his blog project Coco River Fudge Street\, named after a fictitious l ocation invented by the artist “to sound funny\, dirty and tasty at the sam e time.” HPAC will present over 150 of these hilariously ribald drawings.
This is David Leggett’s first solo show at Wes tern Exhibitions. Leggett’s work has been included in group shows at The Ne w Museum of Contemporary Art in New York\, Fecal Face Dot Gallery in San Fr ancisco\, 65 Grand in Chicago and in “Disinhibition: Black Art Blue Humor” at the Hyde Park Art Center. He was a recipient of the 3Arts Visual Artist Award in 2009. Leggett received his BFA from Savannah College of Art and De sign and his MFA from The School of the Art Institute of Chicago in 2007. H e currently lives and works in Chicago.

DTEND:20120310 DTSTAMP:20150528T211222 DTSTART:20120127 GEO:41.8830765;-87.6492422 LOCATION:Western Exhibitions\,845 W Washington Blvd. 2nd Floor \nChicago \ , IL 60607 SEQUENCE:0 SUMMARY:It's getting to the point where nobody respects the dead. Fresh to death\, David Leggett UID:196858 END:VEVENT BEGIN:VEVENT DTEND:20120127T200000 DTSTAMP:20150528T211222 DTSTART:20120127T170000 GEO:41.8830765;-87.6492422 LOCATION:Western Exhibitions\,845 W Washington Blvd. 2nd Floor \nChicago \ , IL 60607 SEQUENCE:0 SUMMARY:It's getting to the point where nobody respects the dead. Fresh to death\, David Leggett UID:196859 END:VEVENT END:VCALENDAR