Tres Desperados: The Good, The Bad and The Ugly
The title of this exhibition refers to the old spaghetti Westerns that depict the iconic loner trying to make his way in a world he doesn’t necessarily agree with or understand. Ruscha makes the connection of that genre to today’s art world and the journey of the artists, as he starts his curatorial statement off with a 1964 quote from Joe Goode, telling Paul to, "Be anything… Be a dishwasher, be a garbage collector. Be anything but an artist, unless you can’t be anything else but an artist.”
Desperados takes a look at three artists through the eyes of an art
collector and art world veteran. Paul Ruscha is the younger brother of
artist Ed Ruscha, and he has seen the art world from many points of
view, including the view of the artists. Ruscha writes in his
curatorial statement, “I've never really written (and certainly
without any scholarship) about the art which has most appealed to me.
When I do, it sounds too much like something a lot of writer/critics
might say. Instead, I want to get at the act of making art, the
processes and choices that my favorite artists utilize, and being the
fly on their studio wall is a fulfillment I'd never care to live
without. How does an artist make the decision to start working on their
latest inspiration? And without losing their concentration, how do they
transform their ideas into the original works of art that I always love
to ponder?” His answers come from the three artists that he has chosen for this exhibition.
Ernesto Sanchez lives and works in Oklahoma City and is a native of Monterey, Mexico. Sanchez’s paintings are executions of his chosen binary abstractions with whorls of zeros, floating in beds like flowers; seemingly to be either in a bouquet of zeros, or perhaps just a single flower of which the zeros were its petals, forming like drops on still water.
Shane Guffogg lives and works in Los Angeles. Ruscha has chosen paintings from Guffogg’s on-going “Ribbon” series. These paintings act like an infinite psychological space while the ribbons' lighter shades provide hope for their overcoming that darkness, and in each painting they play with the possibility of disappearing themselves, yet never really do. They appeal to an inner fear of eternal darkness but that darkness becomes a chamber of rest, and each floating ribbon is the continuation of the soul it once represented.
Daniel Lutzick lives and works in Winslow, Arizona. Lutzick, who is primarily a sculptor, draws his imagery form architectural sources that range from the stain glass windows in the Gothic Cathedrals to Eastern mandalas. He fuses these elements into a chaotic, but intellectual whirlwind. His choice of materials- plywood, plaster, wire - create a unified world of iconography while simultaneously pondering its meaning.