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Every piece in this exhibition embodies both the rich dramat ic content and the powerful physical presence for which Elliott Hundley is known. Rigorous and vibrant paintings\, hybrid painted collages\, quintesse ntial billboards and sculptures hold each of their own territory as well as take on monumental significance as Hundley pushes to further intertwine an d contrast his varying bodies of work. In formulating a distinct visual lex icon he has achieved unbelievable freedoms - not only creating pure gesture s but also allowing those gestures to manifest in complete\, purposeful way s.

While content can be perceived through each combined layer in which materials are fastened\, unhinged\, glued and stripped away\, it i s ultimately in the making of the work that meaning is generated. For years he has pulled from his prior works – sometimes physically\, sometimes meta phorically. A fragment torn away during the creation of an earlier work can ignite a new piece\; remnants from previous sculptures will reappear in an other. Pulling from an archive of his own documented works\, Hundley lays d own his past as a new foundation and history becomes material. Photographs of entire pieces may dissolve into under-layers of new work\; a sequin can appear as an object shimmering in three dimensions or as a pixelated repres entation from another piece.

Hundley is a reactionary artist w ith a fine-tuned and specific index of goods from which he plies his trade. A thickly rendered\, painted surface may be built upon a foundation of wor n\, stacked materials\, and a smooth area may be made of countless layers o f rubbed and fanned out paint. He cuts angular crevices into works to stark ly contrast the flatness of two-dimensional surfaces. Through vast fields o f printed paper and pinned photographs he delicately carves intricate chann els\, embroidered with a full spectrum of colorful thread and held by thous ands of gold pins. The works are constructed in a way that is completely co ntrolled but freely conceived. It is with strict intentionality and equalit y between painting\, collage\, photography\, sculpture and hybrids of each that the work can be authentic and automatic.

While in much of his past work he has referred to Greek plays\, Hundley is not only interes ted in how those particular narratives are representations of our shared su bconscious – he also has a deep interest in how the recordings of those pla ys\, for which there were never perfect versions or final drafts\, physical ly and mentally manifest in perpetual reinterpretations. While this particu lar body of work is not about one specific play\, Hundley takes mythologies from his own language so that the metaphysical and ethical quality of Gree k theater weaves throughout. Utilizing his remarkable ability to join conno tative content and pure markmaking\, he is able to goad new reactions with psychological impact.

Always a natural collector and archivist \, Hundley also has a deep love and scholarly understanding of performance\ , literature\, history\, film and theatre. Born from these passions\, he el egantly stitches together a cumulative portrait of the world he sees filter ed through the familiar. He builds elaborate sets on which he directs\, sta ges and shoots performers and then systematically alters their scale\, eith er blowing them up to billboard sized murals or cutting them into thousands of tiny figures. He culls from flea markets\, newsstands\, and art supply stores and enlists foundries and industrial shops for raw materials. By emp loying content-rich resources that are psychologically dense\, he forms a k ind of decentralized cultural map to magnify realities and achieve unexpect ed formal connections. Art history imparts a heavy weight onto mediums like oil paint\, but\, like any other material\, Hundley then capitalizes on th ese histories by embracing them and unleashing their potential - by titling some of the paintings Still Life or Composition he embeds yet another laye r of historical reference. Through sheer invention and an endless cycle of reactions he is able to chronicle the very actions of ideas.

T his is Elliott Hundley's third solo show at Andrea Rosen Gallery.
Elliott Hundley (b. 1975) lives and works in Los Angeles. The B acchae has recently been the subject of a traveling Museum solo exhibiti on at the Nasher Sculpture Center\, Dallas and the Wexner Center for the Ar ts\, Columbus. His work is held in numerous prominent public institutions i ncluding the Armand Hammer Museum\, Los Angeles\; Broad Foundation\, Los An geles\; Louisiana Museum of Modern Art\, Humblebaek\, Denmark\; Miami Art M useum\, Miami\; Museum of Contemporary Art\, Los Angeles\; Museum of Modern Art\, New York\; Nasher Sculpture Center\, Dallas\; San Francisco Museum o f Modern Art\, San Francisco\; Solomon R. Guggenheim Museum\, New York and Whitney Museum of American Art\, New York.

DTEND:20130427 DTSTAMP:20140425T015920 DTSTART:20130330 GEO:40.749185;-74.005023 LOCATION:Andrea Rosen Gallery\,525 W.24th St. \nNew York \, NY 10011 SEQUENCE:0 SUMMARY:Solo Exhibition\, Elliott Hundley UID:266709 END:VEVENT BEGIN:VEVENT DTEND:20130329T200000 DTSTAMP:20140425T015920 DTSTART:20130329T180000 GEO:40.749185;-74.005023 LOCATION:Andrea Rosen Gallery\,525 W.24th St. \nNew York \, NY 10011 SEQUENCE:0 SUMMARY:Solo Exhibition\, Elliott Hundley UID:268470 END:VEVENT END:VCALENDAR