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Daniel Reich Gallery is proud to announce a presentation of work by artist Jack Early.

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Working with three works: a 2009 install ation reconfigured: Jack Early’s Ear Candy Machine\, an imaginative adaptat ion of Pink Floyd’s Dark Side of the Moon\; an early 90s Pruitt-Early sculp ture of Captain Kirk and Dr. Spock and a painting that includes a portrait of Paul McCartney\, the first in a series of new combine paintings\; the ex hibition is a journey capturing Early over time isolating his specific sens ibility.  Scatter is important for its reconfiguration of common found hous ehold forms.  Folk and common experience are at the root of Early’s work as well as American history as remembered in attic items.  The reconfigured r ainbow of Jack Early’s Ear Candy Machine now loops underground through hole s in the gallery floor as sixties figures and an actual turn of the century beer barrel emerge from holes in Early’s combine like creepy white rabbits emerging from the Swiss Cheese of the American brain.  After the fall of P ruitt-Early\, Early re-approached art making by writing songs beginning in 1994 – one of which has the honor to accompany the Edie Sedgwick screen tes t of the 13 Most Beautiful from the Andy Warhol Foundation.  He has cut a g reat record – an area in which he didn’t expect to excel and his interpolat ion of creative energy is part of the story.  Jack Early’ Ear Candy Machine feels right now with its graphic surrealist grungy approach and as it pass es through the tragedy and enthusiasm of the American story with a compelli ng beauty of its own.

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Igniting folk music\, oral history and the Am erican landscape (real and Technicolor)\, Early invites us to extrapolate m eaning and narrative.  In folk tradition\, the humble materials of the thre e works distantly recall the hobo ducking in and out of the scene and jumpi ng trains.  In terms of the exhibition’s title Jack Early’s Ear Candy Machi ne\, we might think of the inspirational fictional Big Rock Candy Mountain that one might stumble upon in the late twenties folk songs.  Lewis and Cla rk’s transcendental late 18th Century landscape exploration is t ransmogrified in the twentieth century into the road trip\, early space exp loration and the mental trip.  In terms of the temporal as mirrored in Earl y’s storytelling\, we are reminded of the connectivity of history.  For ins tance the way that the 60s British invasion of popular music is likely desc ribed as such because of the Revolutionary War.

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Early’s compelling Jack Early’s Ear Candy Machine transmographies the cover of Pink Floyd’s Da rk Side of the Moon into an imaginative landscape.  Shown at the inestimabl e Southfirst Gallery in 2009\, Jack Early’s Ear Candy Machine as it is inte rpolated here is a seminal Early project which all should see as it was his first foray into exhibiting again nodding to the popular Artwork for Teena ged Boys.  As Artwork for Teenaged Boys could work as a laughter inspiring signification of the teenaged boy as in an image of Pruitt and Early strung by nooses  (autoerotic asphyxiation was a concern of early nineties journa lism) in front of stacked beer cans\, Jack Early’s Ear Candy Machine uses D ark Side of the Moon as the holy grail of straight boy prog rock: a genre t racing its lineage to the Beatle’s Sergeant Pepper’s Lonely Hearts Club Ban d and The White Album.  In Early’s work\, the LP record conveys the idea of a theme album and the visible spatial progress of the needle towards the c enter of the record recalls the idea of the journey as an Operatic Gesamtku nstwerk of aural experience enhanced by the thinginess of album art.  The G esamtkunstwerk informs the Wagnerian Jack Early’s Ear Candy Machine where l ight\, sound\, a prism and a Victrola combine to form an enveloping large i llusion.  Dark Side of the Moon as a metaphor for the reflective place of t otal exile Early felt during his art world wilderness years.  Some days our lives are lit only at curved edges by aurora borealis light fractation.  1 973’s Dark Side of the Moon’s stoner connection to the bejeweled camp 1939 Wizard of Oz film echoes the kinetic warp of Early’s graphic visual rainbow pathway around the room as an endless circuit recalling the pathways of th e mind. The mouth of the horn of the foppish white twenties Victrola\, cons titutes another hole in immaculate whiteness visualizing the amplification of the tiny tinny voice of the needle on the record into a facsimile of ful l aural presence.

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In terms of dimensional landscape\, what emerges from Early’s hyperbolic fantasia can be an optimistic or sober reflection.  In terms of sober reflections\, Pop Life: Red\, Black\, Green\, Red\, Whit e and Blue originally shown at Leo Castelli and recently included in the Ta te Modern’s Pop Life: Art in the Material World evidenced racial representa tion in America.  In Early’s new combine painting\, the juxtaposition of ge nerative Paul McCartney is shown with members of the Manson Family emerging through pop holes constituting a field and noting the dark creepy side of America: an impulse forever extant pushing and shoving its way through crac ks.  Consequential to Dark Side of the Moon\, Early’s combine portrait of P aul McCartney as a hand wrought assemblage\, the inverted turn of the centu ry beer barrel slyly nods to Jasper John’s steel macho beer can\, seems to ground us as we stumble over it banging our shins.

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The Pruitt-Early shown here is a magnificent cutout oil painting of Dr. Spock and Captain K irk.  Like Dark Side of the Moon\, Star Trek was an extra terrestrial voyag e which introduced an enthusiastic public to the marvel of the teleport in whose circular beams Spock and Kirk stand as though about to disappear.  In a show with so much materiality shared by Spock and Kirk cutout on board\, the teleport as a transit hub offers the possibility of the immaterial sou l vaporized on its way elsewhere.  Dr. Spock and Captain Kirk definitely co nstitute an odd couple and for Pruitt-Early\, works like this were a bit of a which one are you game?  In the nineties\, it was argued that the viewer as a consumer of mass culture actively created new meanings and narratives for popular characters so deciding whom to identify with was important.  T he same is true of adults watching contemporary movies now.  Everyone ident ifies with someone.  So pop function is a tabula rasa\, which we see contem porary times on Facebook where one flags what one likes in a new way to fla g that one is “cool.”

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As in folk tales where the story ends where i t began and for all the times that human’s have tried to transcend their gr avitational attachment to the earth with aspirations like airplane flight: over time such marvels are integrate from wonder back into ordinary being.  It is all very much like the populist message of The Wizard of Oz by Frank L. Baum which is in its legendary advocacy of a currency backed by practic al inexpensive silver rather the glitz of expensive gold which takes us to the cosmopolitan Emerald City\, whose fabulous Wizard turns out to be a mac hine assisted mirage.  In this regard\, Early’s work always retains the adm irable quality of being down to earth while riding off into the distance li ke a stardust cowboy.

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JACK EARLY has exhibited in the United States and Europe\, recently including exhibitions at Southfi rst in Brooklyn\, NY and E31 Gallery in Athens\, Greece. Pruitt-Early’s 199 2 Pop Life: Red\, Black\, Green\, Red\, White and Blue exhibi tion at Leo Casteli in New York\, was recently rediscovered in Pop Life: Ar t in the Material World at the Tate Modern in London\, 2009. As part of Ear ly-Pruitt\, Early has exhibited with 303 Gallery\, David Zwirner\, and Gavi n Brown Enterprise in New York\, NY\, and with François Pinault Collection in Punta Della Dogana\, Venice. Born in North Carolina he lives and works i n Brooklyn\, NY.

DTEND:20110312 DTSTAMP:20140418T092248 DTSTART:20110121 GEO:40.7482679;-74.0055106 LOCATION:Daniel Reich Gallery\,537 West 23rd Street \nNew York\, NY 10011 SEQUENCE:0 SUMMARY:Jack Early's Ear Candy Machine\, Jack Early UID:145606 END:VEVENT BEGIN:VEVENT DTEND:20110121T200000 DTSTAMP:20140418T092248 DTSTART:20110121T180000 GEO:40.7482679;-74.0055106 LOCATION:Daniel Reich Gallery\,537 West 23rd Street \nNew York\, NY 10011 SEQUENCE:0 SUMMARY:Jack Early's Ear Candy Machine\, Jack Early UID:145607 END:VEVENT END:VCALENDAR