Julian Hoeber

Profile  |  Artworks  |  Exhibitions  |  Network  |  Reviews  |  Comments
Lost in the Funhouse   Pick-button-f22fa879042524f5c7b8d2278b2983b8
Andy Coolquitt, Martin Creed, Olafur Eliasson, Bill Fontana, Jeppe Hein, Julian Hoeber, Carsten Höller, Gareth Long, Mungo Thomson at Western Bridge May 27th, 2011 - July 30th, 2011
Posted 7/12/11
The latest offering from Seattle's Western Bridge gallery, Funhouse, seems intent on leaving a lasting impression: vertigo, a lack of breath, seared retinas. Granted that the carnival image conjured by the title is more Britney or X-tina than Turrell or Nauman, but the carefully pruned selections both support and belie this whimsical touch. This is not to say the sideshow allusion is dumped. Rather, one gets the impression that each of the major “attractions,” Mungo Thompson's Skyspace... [more]
A Fine Example: Part 2   Pick-button-f22fa879042524f5c7b8d2278b2983b8
Julian Hoeber at Blum & Poe February 5th, 2011 - March 12th, 2011
Posted 2/21/11
 This doesn't mean they (Hoeber's) are bad paintings because they are not. His furniture is reminiscent of Lewitt's sculptural aesthetics; whether machine made or handmade, craft, materials and aesthetics have always been blatantly obvious in so-called Conceptual Art and or Minimalism and I've never bought the idea of discarded worth of materiality and object-hood. The statement, "it is just plain beautiful," speaks more towards the works context than anything with the exhibition reading like a... [more]
A Fine Example: Part 1   Pick-button-f22fa879042524f5c7b8d2278b2983b8
Julian Hoeber at Blum & Poe February 5th, 2011 - March 12th, 2011
Posted 2/21/11
Comparing the language of the press release to the reality of experiencing Julian Hoeber's current exhibition “The Execution Changes,” leaves one feeling a little confused. According to the PR, Hoeber is cited for using a fixed set of operations like Sol Lewitt (specifically the late artist’s wall works) to build his compositions and an oppositional use of color and texture to reveal irrationality in a rational system. We shouldn’t focus extensively on press releases, largely written by... [more]
The Recent Performances of Dawn Kasper   Pick-button-f22fa879042524f5c7b8d2278b2983b8
Dawn Kasper at Honor Fraser September 9th, 2010 8:00 PM - 10:00 PM
Posted 9/13/10
          The first time I saw Dawn Kasper perform she sat, covered in fake blood, in an old wrecked light blue Toyota Corolla parked in the lot of the Bergamot Station gallery compound (Los Angeles). Though meant to look as if she'd died in the accident, her makeup was theatrical and crude. When I saw her later, walking around with blood still caked on her forehead, Kasper was so animated and crackling with anxious energy as to erase any lingering memory of the dead girl in the car. In... [more]
Soul Doubt/Sold Out: Unsold Inventory and Leftovers from the First Decade of the Millenium. Part 1   Pick-button-f22fa879042524f5c7b8d2278b2983b8
Anne Collier, Brian Fahlstrom, Luisa Lambri, Jason Meadows, Carter Mull, Frances Stark, Mateo Tannatt, Jennifer West at Marc Foxx July 10th, 2010 - July 31st, 2010
Posted 8/3/10
      Any work of art or exhibition may be interpreted through almost any lens. It may be judged on any criteria. That being said, when I write about art I look for the work of art or the show to set some terms by which I can make judgments. I try to see an internal logic to the thing—just because a show of Color Field paintings can be discussed in terms of the social and political conditions of modern life, doesn’t mean it’s always the best way. I start looking, however conservative this... [more]
            No one can do it alone, least of all artists. Successful contemporary artmakers employ small armies of assistants. Eight people working for months may be required to produce a medium-sized sculpture. Matthew Barney and Paul McCarthy have both worked with fabricators here who had previous experience on Academy Award winning special effects crews. But this kind of expertise and manpower is small potatoes compared to what was Carlson & Company. The hulking giant of art... [more]
Breakin' with Charles Irvin   Pick-button-f22fa879042524f5c7b8d2278b2983b8
Group Show at Kathryn Brennan Gallery April 24th, 2010 - May 22nd, 2010
Posted 5/25/10
              There aren’t a lot of places where hip-hop and nudism overlap, but Charles Irvin’s performance Breakin’ Boundaries sits in the obscure center of that Venn diagram. Irvin’s breakdance routine, complete with cardboard floor covering and cheesy video projection backdrop is a lo-fi version of early 1980s B-Boy culture, except Irvin doesn’t quite have Boogaloo Shrimp’s moves. Or pants. Irvin pop-locks and backspins, even shakes his junk wearing nothing but a knit... [more]
            I came to LA in 1999 because I’d been sold on the post-Pop debauchery of Helter Skelter and Sunshine & Noir. I came for the giant humping bears and guys with moustaches getting shot. I came for narcissistic mannequin orgies and prideful pants shitters. Instead I mostly saw rainbow colored trees and Looney Toons-Anthony Caro hybrids. I started grad school and curled into a little place off Glendale Blvd. Everything smelled like society garlic in the mornings and star... [more]
Judy Ledgerwood at 1301PE   Pick-button-f22fa879042524f5c7b8d2278b2983b8
Judy Ledgerwood at 1301PE March 20th, 2010 - April 24th, 2010
Posted 4/12/10
    Paintings so relentlessly retinal have been called beautiful, but that isn’t precise enough for the intensity of Judy Ledgerwood's show Chromophilia. Comprised of three large and several smaller canvasses, as well as a wall painting and a few largish and smallish ceramic vessels, Chromophilia at 1301PE is saturated with color and what seems at first glance to exude good vibes. The simultaneous attraction and repulsion of so many pretty colors in dissonant combinations puts me a... [more]
photos de la vernissage  
Julian Hoeber at Praz-Delavallade - Paris January 17th, 2009 - March 7th, 2009
Posted 1/19/09
Next door at Praz-Delavallade was Julian Hoeber's optic illusions:   [more]
Ending Decadence   Pick-button-f22fa879042524f5c7b8d2278b2983b8
Tom Allen, Brian Bress, Robert Fontenot, Wendell Gladstone, Julian Hoeber, Brian Kennon, Kelly Sears, Anna Sew Hoy, Ryan Taber, Ami Tallman, Cheyenne Weaver at Los Angeles Contemporary Exhibitions (LACE) June 12th, 2008 - September 27th, 2008
Posted 8/24/08
You want to feel artwork before you think about it, to feel guilty, uncomfortable, elated, seduced, or even perplexed. Then you want to kick your brain into gear, to figure why you feel what you feel, what dormant nerve the work has struck. Those situations in which your brain can’t decipher your emotional reaction are initially disappointing but ultimately unmemorable. The times when the feeling doesn’t strike at all and you have to do brain work first can be rewarding though, especially if... [more]