COPRUS MAXIMUS 2009
Timothy Yarger Fine Art and YARGER | STRAUSS Contemporary are pleased to announce the opening of CORPUS MAXIMUS 2009.
May 2, 2009 at 7 PM.
354 N Bedford Drive
Beverly Hills, California 90210
Please RSVP for the Opening Reception.
email@example.com or call 310.278.4400
CORPUS MAXIMUS 2009
Aron Demetz, Robert Schefman, Federico Guida.
In an international collaboration between, Timothy Yarger Fine Art,
YARGER | STRAUSS Contemporary in Beverly Hills, and First Gallery, Rome we are proud to announce the opening of the third annual CORPUS MAXIMUS exhibition. This year’s exhibition brings together the distinct artistic visions of three celebrated figurative artists, Aron Demetz, Robert Schefman, and Federico Guida. Mr. Demetz has the distinct honor of representing Italy at the 2009 Venice Biennale.
Aron Demetz, (born 1972 in Vipteno, South Tyrol, Italy) will represent Italy at the 2009 Venice Biennale. Demetz is a woodcarver of incredible sensitivity, and has adopted and embraced the ancient South Tyrolean tradition of woodcarving with its roots in the 7th Century, employing these well-honed skills to create characters that are our contemporaries in thoughts, colors and expressions.
Art Historian Elisa Capitano notes, “The characters he [Demetz] carves out of wood evoke deep suggestions in the observer. Usually he represents young people that are visibly restless, but the anguish lies neither in their faces nor in their bodies and, in the same way, as there is no verve of pain, there is no roughness that the wood itself as a material might imply either. All this creates a sort of alienation. The sculptures are all beings that are absorbed in the doubts of their own lives and they display a round plasticity composed busts and faces that show no tension. Some of these sculptures are in life-size, but their eyes go beyond us and, while on the one hand they are so similar to us, on the other they are so far away.”
For years, Aron Demetz has been focusing on the human figure, on contemporary characters, which appear to be frozen in poses of the antique portraiture or paralysed in bizarre postures. This realistic imagery, which very often displays children or adolescents, is highly distinguished because of its formal composure while, at the same time, an atmosphere of melancholic meditation enshrouds the sculptures and makes them somehow classic and somehow stringently modern.
American artist Robert Schefman (born in 1952 Detroit, Michigan) earned a BFA in Sculpture from Michigan State University in 1974, an MA in Sculpture from the University of Iowa in 1976, and an MFA from the University of Iowa in 2006. Schefman lived and worked in New York City for thirteen years. He returned to the Detroit area in 1989.
Schefman’s current body of work visually represents the collision between politics and religion, and the experience translated into large-scale drawings and paintings that follow some of the these connections. In the artist’s own words, “Religion can’t sanctify politics, politics can’t legislate belief, but it’s never stopped people from trying.”
The body of work began with large carbon drawings. Carbon is what we arise from, and return to, “ashes to ashes” and therefore these drawings are executed appropriately in carbon. Carbon fuels our creative and destructive nature and it also defines our politics and relationship to religion. This became a series of drawings on “carbon issues”, which continues in the studio. The paintings and drawings continue to feed my fascination with connecting threads in social fabric.
His works are in the collections of The Detroit Institute of Arts, The Boca Raton Museum of Art, The 19th District Court, Dearborn; Ford Arts Center, Dearborn; Wayne State University, Detroit; The Cooley Law School, Lansing; The University of Iowa as well as in private collections in Detroit, New York City, Boca Raton, San Francisco, and Los Angeles.
He has been awarded grants from the Pollack-Krasner Foundation, The Benard Maas Foundation, The Arts Foundation of Michigan, The State of Michigan Creative Artist Grant and The University of Iowa Graduate Senate.
Schefman is currently the Chair of the Foundations Department, and Associate Professor at The College for Creative Studies in Detroit. Schefman resides in West Bloomfield with his wife and two children.
Completing the Corpus Maximus exhibition is Federico Guida (born 1969 Milan, Italy) is a third generation painter having attended the acclaimed Brea Academy, in Milan. For many years Guida has focused on depicting the human body and its figuration, focusing on various themes and styles. He has been especially interested in interweaving references to and citations from the history of art but also to a great deal of film iconography. Through his works Guida speaks to us today of intimacy and violence, of chaos and perdition, of imagined and real dramas, in a visual turbine, which seduces the viewers without ever being ostentatiously pleasant.
During this year Guida took part in Arte Italiana 1968-2007 Pittura (Italian Art 1968-2007 Painting), a collective exhibition curated by well known art critic Vittorio Sgarbi, at Palazzo Reale in Milan. In October he was included in Around, a show realized with MASLEN & MEHRA in Rome at First Gallery. In 2006 he had a solo exhibition Senza famiglia Storie di amicizia nell’Arte Italiana at Promotrice delle Belle Arti, in Turin and in 2007 he participated in a group show Italiana at the Shanghai Art Museum. In June 2005, he took part in collaboration with Italian Factory in Miracle in Milan at Palazzo della Ragione. In 2003, he was one of the artists in the Italian Factory project The New Italian Art Scene taking part in the collateral events at the 50th Venice Biennial, the European Parliament in Strasbourg and Palazzo della Promotrice delle Belli Arti in Turin; the latter "stage" also saw him involved in the project by Fabrizio Ferri, Portraits. In November 2005 Mimetica-mente at Pinacoteca Civica, Palazzo Volpi.