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Charest-Weinberg is pleased to present “Black Sculpture\,” an exhibition of new w ork by New York-based artist Fernando Mastrangelo. The exhibition will open to the public on Tuesday\, November 29th and will be on view through Febru ary 29th\, 2012. There will be an opening reception on November 29t h from 6-8pm.

Mastrangelo approaches sculpture as a c ommunion of concept\, form and materials. Over the years\, he has become kn own for using unexpected materials that heighten his work's critical effect . Avarice\, 2008\, is based on the Aztec calendar\, made entirely from white Mexican corn\, and critiques NAFTA and the U.S. corn farming ins titution. Felix\, 2009\, is a life-size statue of a Colombian coca farmer cast from pure cocaine. Following that\, he spent a year in Los Ang eles\, documenting the El Salvadorian gang MS-13 and casting relief sculptu res based on their tattoos from human ash. This oeuvre is much more than a laundry list of Hispanic social problems\; it represents art at once social ly responsible and aesthetically formidable. It comes as no surprise that M astrangelo was an assistant for Matthew Barney from 2004-2005. But whereas the older artist used materials metaphorically in order to create an esoter ic cosmology of meaning\, Mastrangelo remains conceptually and materialisti cally literal.

For “Black Sculpture\,” Mastrangelo focuses on art history for the first time. After creating exact molds based on the wo rk of Frank Stella and Ad Reinhardt\, Mastrangelo casts his reliefs out of compacted gunpowder. The pieces teeter on the precipice of annihilation\; b y forging the work of canonical artists in gunpowder\, Mastrangelo simultan eously pays homage to the work of earlier iconoclasts and seeks to destroy them for himself. “Black Sculpture” takes on previous Oedipal crises\, such as Rauschenberg’s Erased De Kooning\, 1953\, and adds an element of contemporary spectacle. Yet the pieces are not simply bombastic\; they a re firmly embedded in recent narratives-both the modernist quest for reduct ion and a knowing appreciation for appropriation and found imagery. Further more\, submerged beneath the tense potential for destruction is an elegiac calm. They give form to the Existential angst that inspired their Cold War- era predecessors. Ad Reinhardt once said\, “I am sure external agony does n ot enter very importantly into the agony of our painting.” The black gunpow der\, coupled with the Reinhardt’s cruciform and Stella’s teleological line work\, firmly suggests an end of something.

Fernando Mastrang elo received an MFA in Sculpture from Virginia Commonwealth University in 2 004. He has exhibited internationally\, and is in the permanent collection of the Brooklyn Museum. “Black Sculpture” is his first solo exhibition with Charest-Weinberg.

DTEND:20120229 DTSTAMP:20141220T032838 DTSTART:20111129 GEO:25.799275;-80.199806 LOCATION:Charest-Weinberg Gallery\,250 nw 23rd st \nMiami\, 33127 SEQUENCE:0 SUMMARY:Black Sculpture\, Fernando Mastrangelo UID:188588 END:VEVENT BEGIN:VEVENT DTEND:20111129T200000 DTSTAMP:20141220T032838 DTSTART:20111129T180000 GEO:25.799275;-80.199806 LOCATION:Charest-Weinberg Gallery\,250 nw 23rd st \nMiami\, 33127 SEQUENCE:0 SUMMARY:Black Sculpture\, Fernando Mastrangelo UID:188589 END:VEVENT END:VCALENDAR