SO MUCH DEPENDS: guest curator Charlotte Eyerman
opening: Sat Jan 22 2011 4-8pm
An exhibition built around artists who use text to create new realities. Inspired by the first line of a strikingly visual poem by William Carlos Williams, known as “The Red Wheelbarrow”, SO MUCH DEPENDS observes how artists can construct a vivid world using very few words. Charlotte Eyerman is a curator and art historian based in Los Angeles (former director of Gagosian Gallery, Beverly Hills / former Curator of Modern and Contemporary Art, Saint Louis Art Museum) brings the exhibition to Royale Projects as the first guest curator to work with the gallery.
Tom Friedman’s witty conceptualism registers in this show in this new installation of 20 drawings. “Untitled (Critique)” 2010) channels disbelieving viewers using aphorisms drawn from the vernacular—and our current day culture wars: “This is garbage.” “This is why I hate art.” “I could do this.” Friedman has said, with his characteristic philosophical wryness that he makes art to “slow down the process of looking” in our information-saturated world. This work, like Friedman’s art in general invites the viewer to pose serious questions and to laugh at the world while doing so.
Sarah Frost was born in Detroit and grew up in Rochester, NY. She received a Bachelor of Fine Arts in painting from Washington University in St. Louis and a Master of Fine Arts degree in sculpture from Southern Illinois University, Edwardsville. Frost’s work has been exhibited in solo and group exhibitions regionally, and she has her first show in New York in 2010. She has also received numerous awards and grants, including the inaugural Riverfront Times’ Visual Arts Mastermind award in 2008 and grants from Arts in Transit and the Missouri Arts Council. Most recently she won the Great Rivers Biennial 2010, a grant funded by the Gateway Foundation and solo exhibition at Contemporary Art Museum Saint Louis. She currently lives and works in St. Louis.
Rob Reynolds lives and works in Los Angeles and has exhibited work at The Wexner Center; The Katonah Museum; Gagosian Gallery, Los Angeles; Khastoo Gallery, Los Angeles; Happy Lion, Los Angeles; ROVE New York/London; The Basel Art Fair; Threadwaxing Space; Printed Matter at DIA; The Whitney Museum ISP; Bell Gallery, Brown University, and elsewhere. His photographic work has been published in Blind Spot, Spin and George magazines. Rob was art editor of FEED Magazine and taught literature and documentary studies at Harvard University. Previously, he played in the noise band Dung Beetle. Rob graduated from Brown University, (BA Art and Semiotics 90’), and completed the Whitney Museum Independent Study Program (92’), previously studying at The Boston Museum School, and The School of Art Architecture and Planning, Cornell University. Rob was born in Boston, Massachusetts in 1968.
David Buckingham roams the windblown alleys, abandoned factories, gritty industrial areas, dodgy neighborhoods, and low deserts of Southern California in search of the cast away, the discarded, the forgotten: old 55-gallon barrels, wheelbarrows, tool boxes, road signs, tractor parts, car doors, gas cans, etc. These battered relics are carted to a dusty studio in downtown Los Angeles where they are muscled into works of art with a bewildering array of power tools and sheer force of will. All colors are original as found; David Buckingham is no painter.
Ian Weaver’s work, which engages ideas of lost personal and community history, examines notions of alterity, power, and culture with the use of constructed history. It is informed by ethnography, anthropology, African-American and European history, and museology. The concept of a non-linear history, of a fractured narrative, is an important aspect of the work – it points to the fragmentation and death of existing information. Ian Weaver has approached this re-imaging of history as a process of visual layering; these disparate objects, artifacts, documents, and ephemera gain their power within the context of the larger project. They tell a story that occupies a certain time period, but travels backward and forward into and out of our time.
JonMarc Edwards’ latest body of work can best be described as “Deep Pop.” Utilizing images, attitudes and strategies of well-founded popular culture and myths, JonMarc goes deeper into the underlying impulses and desires that drive our common pleasures. Jonmarc says of his new work, “As we become more alike, we struggle to be more diverse, articulate, acute.” JonMarc Edwards has exhibited at Carl Berg Galley, Newspace Los Angeles, Deborah Colton Gallery, Houston, Westwood Gallery, New York, Apex Art, New York, Art Affairs Gallerie, Amsterdam, NDL.
Finding beauty in the banality of every day urban existence, Timothy Ernst explores the sensational and attractive reflections of facile city life. Ernst’s multiple medium practice draws its influence equally from the “anti-art” artists born the decade previous to him, such as Jack Pierson, Tim Noble and Sue Webster, and from the early pioneers of West Coast Minimalism such as James Turrell, Robert Irwin and Craig Kauffman. In his paintings, Timothy Ernst prefers to create the illusion of light instead of light illusions. He embraces the “low brow” tools and street ideology of punk rock, graffiti art, and of Southern California’s Kustom Car Culture and utilizes, reduction, subtle humor, the decorative, and the artificial to accomplish a new visual language. The signage sculptures are an extension of his discovery into contemporary human experience. Reconfiguring letters taken from found signs, Ernst creates simple words, giving intimate meaning to the commercial text. His work mines our chaotic and unnatural world addressing the obvious and creating meditative moments out of the space in between.