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Michael Genovese

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20130121194842-9_ohwow_genovese_installation_view
Lines and Cracks and Zebras and Horses Installation View , 2013 © Courtesy of OHWOW and the artist
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Lines and Cracks and Zebras and Horses installation view, 2013 © courtesy of OHWOW and the artist
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Manicured Fields of Failure , 2013 Nickel Plated Steel 110 X .25 Inches © Courtesy of OHWOW and the artist
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Ford by the Cliff , 2013 Nickel Plated Steel 99 X 6 Inches © Courtesy of OHWOW and the artist
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detail, 2013 © courtesy of OHWOW and the artist
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detail, 2013 © courtesy of OHWOW and the artist
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Prime , 2013 Nickel Plated Steel 96 X 100 Inches © Courtesy of OHWOW and the artist
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Prime (Detail) , 2013 Nickel Plated Steel 96 X 100 Inches © Michael Genovese
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Ford by the cliff (Detail) , 2013 Nickel Plated Steel 99 X 6 Inches © Michael Genovese
20130121194622-6_ohwow_genovese_installation_view
Lines and Cracks and Zebras and Horses , 2013 Installation View © Courtesy of OHWOW and the artist
20130121194711-7_ohwow_genovese_installation_view
Lines and Cracks and Zebras and Horses Installation View , 2013 © Courtesy of OHWOW and the artist
20130121194804-8_ohwow_genovese_installation_view
Lines and Cracks and Zebras and Horses Installation View , 2013 © Courtesy of OHWOW and the artist
20130121202034-1_2
Step, Fold, Stack , 2011 Aluminum Leaf, Ink, Collage, Embossed on Paper © Michael Genovese
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Tableaux #13 , 2011 Engraved Aluminum With Nickel Plated Mirror Polish © Michael Genovese
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Tableaux #13 (Detail) , 2011 Engraved Aluminum With Nickel Plated Mirror Polish © Michael Genovese
20130121202553-11genovese_ps_miami
PS, BXB/MAM, Little Havana/Liberty City Graffito Drawing on Aluminum Panels With Baked Enamel 2 Parts at 48 X 60 Inches © Photo by Sid Hoetzell for the Miami Art Museum; Collection of the Miami Art Museum
20130121203509-12genovese_ps_mam
PS, Miami Art Museum , 2010 Graffito Drawing on Aluminum Panel With Baked Enamel Finish 54 X 44 Inches © Collaborative drawing made by the public at the Miami Art Museum
20130121203810-13genovese_galaxy
Cross Galaxy - Installation replica of Frederick Kiesler's Floor and Wall Galaxy (1952) with plates created at various institutions from around the country. Installation view at the Patricia and Phillip Frost Art Museum , 2008-2012 Graffito Drawing on Aluminum Panels With Baked Enamel and Powder Coated Finishes, Framed. Extrusion Chair, Mdf and Marble Veneer Designed by Emmet Moore Dimensions Variable © Michael Genovese
20130121204520-17genovese_visible_men
Invisible men, The engraved codex is a repeated transcription of Ralph Ellison's Invisible man (1952) The installation is a replica of One: Number 31,1950 at "Jackson Pollock 1912-1956" at the Galleria Nazionale d'Arte Moderna, Rome (1958) by Frederick, 2009 Hand Engraved Codex on Polished Aluminum, Aircraft Cable, Live Plants and Stanchions 70" X 30' © Michael Genovese
20130121204245-michaelgenovese_agave
Resting with the petals of a rose, Agave plant- Transcriptions and quotes sourced from amateur self help videos from YouTube. Mirrored Tablet- Complete transcriptions for videos on plate sourced from 7 tablets of creation, 2010 Carved Live Agave Plant, Hand Engraved Codex on Nickel Plated, Mirror Polished Aluminum Dimensions Variable © Michael Genovese
20130121204441-michaelgenovese_alleged
Alleged , 2011 Silver Leaf, Ink, Embossed (let Justice Be Done Until the Heavens Fall in Latin), Staples, Cigarette Wrapper on Stacked Personal Overdue Financial Statements 13 X 9 Inches © Michael Genovese
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© Michael Genovese
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© Courtesy of the Artist and OHWOW Los Angeles
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Existentialism, 2011-2012 Graffito Drawing on Aluminum W/ Baked Enamel Finis 144 X 230 Inches, 2 Parts, © Michael Genovese / Photo by Gary Mercer
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Various works © Michael Genovese
Genovese1
All My Skin Folk, Aint All My Kin Folk (Japanese) © Courtesy the Artist & Packer Gallery, CHI
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Joliet
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Joliet
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Quick Facts
Birthplace
Chicago, IL
Birth year
1976
Lives in
Los Angeles
Works in
Los Angeles
Representing galleries
OHWOW
Statement

Michael Genovese was born in 1976 in Chicago, IL and lives and works in Los Angeles, CA. Genovese creates work that aims to connect with collective experiences, be it social or existential. Each piece can be as much a documentation of broad themes as a personal journal. He speaks to the familiar, however, through mark making, reduction, or transformation of the recognizable, he reassigns power. He is not eliminating evidence or obscuring facts, but instead he recontextualizes our perception of meaning and history. His work is about archives, permanence, and the designation of value. His concern with materiality, and the treatment of his chosen media, furthers the investigation of worth. His particular approach, and the work’s content, move to alter our preconceptions and change our proximity to what is tangible.

 

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