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David Kordansky Gallery is very pleased to announce an exhibition of new paintings by Chris Martin. The show will open on \;September 21 \;and run through \;November 9. An open ing reception will be held on \;Saturday\, September 21\, from \;6: 00pm until 9:00pm. This is the artist's first exhibition at the gallery.

Chris Martin is a key figu re in contemporary American painting\, and an abiding influence on a genera tion of younger artists. Since the 1980s he has created an expansive\, open -ended\, and constantly evolving body of work that eschews limits of every kind. His experiments challenge established ideas about physical scale\; ab out the roles played by mediums\, materials and techniques\; and more broad ly about what a painting is and how it functions as endeavor and artifact. But equally important are the ways in which his experimentation&ndash\;&nda sh\;and the abstract geometries and visual rhythms it engenders&ndash\;&nda sh\;permits access to unexpected spiritual and psychological dimensions\, s o that seeing can foster intimacy with the unseen. \;

In this sense\, Martin's work exemplifies a ritualistic approach to painting as a category of human endeavor\, and i ntersects with a surprising array of cultural antecedents from many discipl ines (including seemingly 'outsider' practices and religious iconographies) . It also suggests that abstraction in painting is not necessarily part of a linear evolution of forms and intentions\, but rather participation in a much broader activity comprised of Western and non-Western traditions alike . The abstract expressionists are important forebears\, of course\, but so are figures like James Brown\, Forrest Bess\, and Alfred Jensen\, whose nam es have made recurring appearances in the work.

The current exhibition features several different t ypologies. Prominent among them are the glitter paintings that have become a major focus for Martin in recent years. Layers of oil or acrylic paint ar e applied to canvas\, followed by layers of holographic glitter\, resulting in a deep\, complex visual field that appears to be both representational and just beyond the grasp of standard perception\, a constantly shifting la ndscape of the mind. In a new development\, Martin has begun to trace marks in the glitter\, pushing it aside and revealing fragments of the paint und erneath. Because many of these marks are made using his own body\, the 'win dows' in the glitter are often shaped like the artist's open hand or closed fist\, lending the work a primal immediacy. \;

In a painting called \;Mwandishi\, meanwhile\, collaged images of jazz musicians (the title refers to a recor d by Herbie Hancock) have been dragged through the glitter layer. The comet -like trails of paint left behind them create a vertiginous play between po sitive and negative space\, one made even more rich because the images them selves remain as remnants of the process. Collage and appropriated imagery play important roles in Martin's work&ndash\;&ndash\;paintings in the show make use of a host of non-traditional materials\, including vinyl records\, stuffed lobsters\, printed fabrics\, and slices of bread. Still others rel y only on painted images\, but are centered upon forms like pointed stars a nd boldly colored\, plant-like patterns that the artist has revisited conti nually over the years. \;

These objects and forms serve as bridges between the otherworldly\, p sychedelic\, and shamanic power of the compositions and the materiality and popular (even populist) accessibility of everyday life. They also help cre ate the sense that the paintings\, as a whole\, are illustrative of a world that derives equal pleasure from its outward as well as its latent manifes tations. This points to the generosity that permeates Martin's practice&nda sh\;&ndash\;indeed\, many works originate as homages\, however idiosyncrati c\, to other artists\, or as commemorations of the energies surrounding a p articular time in a particular place&ndash\;&ndash\;and speaks to the fearl essness that makes each painting feel like a leap into the unknown.< br />
Chris Martin (b. 1954) was rece ntly the subject of two major retrospectives:Staring into the Sun\ , Kunsthalle Dü\;sseldorf\, Germany and \;Chris Martin: Paintin g Big\, Corcoran Gallery of Art\, Washington\, D.C. Recent group exhib itions include \;Submarine Wharf &ndash\; XXXL Painting\, Muse um Boijmans Van Beuningen\, Rotterdam\, The Netherlands\; \;Paintin g Now\, Eva Presenhuber\, Zü\;rich\, Switzerland\; \;abstr action/quotidien\, Passerelle Centre d'art contemporain\, Brest\, Fran ce\; \;Pure Freude\, curated by Johnny Mullen\, Nationalmuseum \, Dü\;sseldorf\, Germany\; and \;The Painted World\, P.S. 1 Contemporary Art Center\, Long Island City\, NY. His work is included in a number of public collections\, including the Albright Knox Gallery\, Buff alo\, NY\; Denver Art Museum\; and Museum of Contemporary Art\, Chicago. Ma rtin lives and works in Brooklyn\, NY.

DTEND:20131109 DTSTAMP:20141022T022803 DTSTART:20130921 GEO:34.0544257;-118.3432562 LOCATION:David Kordansky Gallery\,5130 W. Edgewood Place \nLos Angeles\, CA 90019 SEQUENCE:0 SUMMARY:Solo Exhibition\, Chris Martin UID:289109 END:VEVENT BEGIN:VEVENT DTEND:20130921T210000 DTSTAMP:20141022T022803 DTSTART:20130921T180000 GEO:34.0544257;-118.3432562 LOCATION:David Kordansky Gallery\,5130 W. Edgewood Place \nLos Angeles\, CA 90019 SEQUENCE:0 SUMMARY:Solo Exhibition\, Chris Martin UID:289110 END:VEVENT END:VCALENDAR