Patrick Painter Inc. is proud to present a group exhibition of works by Mike Kelley, John Baldessari, Ed Ruscha, Reinhard Mucha, Jean-Luc Mylayne, Craigie Horsfield, Catherine Opie, Dennis Adams, Christopher Williams and Juan Muñoz in our East and West Galleries.
The Poetry of Form: Part of an Ongoing Attempt to Develop an Auteur Theory of Naming (1985/96) is a series of works by Los Angeles artist Mike Kelley which consists of thirty-four black and white photographs of cave formations and exists as a part of the larger project Plato’s Cave, Rothko’s Chapel, Lincoln’s Profile. The series is a reflection of Kelley’s interest in the juxtaposition between image and name, relaying to us the importance of fabrication and the dangers of misconception.
John Baldessari’s series of eight color photographs “National City”, depict a theme that the artist has returned to throughout his long and varied career. Baldessari challenges the viewer to carefully consider the image and examine the often overlooked margins and peripheries.
Ed Ruscha is one of the most imfluential and prolific American artists of his generation. While he is best known for his juxtapositions of words and images, Ruscha’s career remains incredibly diverse. As God (2010) illustrates, the artist’s works in photography stand as some of his most engaging.
German sculptor Reinhard Mucha has been creating highly personal assemblages and constructions since 1979. Using both old and new materials, Mucha’s installations are a reflection of his country’s Contemporary industry and travel. In BBK Edition (1990), he uses recycled furniture and previous exhibition posters to raise awareness of the politics in display, ownership, and memory. His work challenges the museum setting by incorporating recycled elements that are often used in the display of art.
In No. 1 (1978) and No. 75 (1987), French artist Jean-Luc Mylayne explores the intimate bond between subject and photographer. Mylayne is known for his meticulous technique, which involves attentively spending each day waiting, analyzing, and gaining trust with his subjects in a particular location, often for months at a time. At the precise moment, he is able to capture his subject with a dedicated combination of location, atmospheric condition, and vantage point.
Mylayne’s persistent and assertive style of photography sets him aside as a truly committed artist.
English artist Craigie Horsfield first printed his black and white photograph, Casa Comalat, Avinguda Diagonal, Barcelona, December in 1995, a year after it was initially taken. This delay is a unique aspect of his process, which brings attention to the disparity between memory and the present moment. His photographs are often part of collaborative social projects that raise awareness of our relationship with individuality, our surroundings, and the human condition.
Catherine Opie is an American artist known for her investigations of various cultural communities through documentary photography. In 1998, Opie embarked on a two-month trip across the country to research and photograph lesbian couples and their families at home. As part of the “Domestic” series, Tammy Rae and Kaia, Durham, North Carolina is a reflection of Opie’s own interest in personal relationships and the ways in which a family is constructed and considered.
Sculptor and Conceptual artist Dennis Adams is best known for his installations and public sculpture projects throughout Europe and the United States. However, in Patricia Hearst A-Z (1990) Adams uses twenty-six chronological headshots of the newspaper heiress, including her First Communion at age 13, her scandalous trial, and finally her wedding day. These prints illustrate the invention and reinvention of Hearst’s identity, which have been filtered through the obsessive eye of mass media.
Christopher Williams falls into the category of West Coast conceptual artists. His photographs, such as Young Hee Kim and Gyung-Hwa Han (1992), contain social elements along with institutional critique.
The late Spanish artist Juan Muñoz is often cited as a sculptor although he much preferred the self-description of “storyteller”. However, in Rear Window, Munoz explores the medium of photography in the works Untitled (1995) and Cardtrick (1996). These photographs emphasize the artist’s focus on space, displacement, absence, and paradox.