Summer Group Show

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A Walk With Daddy, 2008 Direct To Plate Photogravure And Aquatint 23.5 X 22 Inches, 59.7 X 55.9 Cms © Courtesy of the artist & Goff + Rosenthal
Summer Group Show

537 B W.23rd St
New York, NY 10011
June 17th, 2009 - July 24th, 2009
Opening: June 17th, 2009 5:00 PM - 7:00 PM

Tuesday - Saturday: 11am - 6 pm
digital, video-art

Goff + Rosenthal is proud to present a summer exhibition of recent works on paper by five of its
artists: Ain Cocke, Simon English, Isca Greenfield-Sanders, Scott Hunt, and Faris McReynolds.

Ain Cocke’s lurid and flamboyantly “traditional” portraits of male World Wars I and II era soldiers recall Rococo artists such as Boucher and Fragonard as well as the Neue Sachlichkeit painter Christian Schad. They evoke a certain bygone era of intimacy among men which has disintegrated under the pressure of a broad array of new modern male identities. Says Cocke: “The difficulties of male intimacy have always intrigued me. Since I was young, I have had difficulty understanding the now apparent, invented narrative of masculinity. For me, the act of making these works is an actual intimate moment between myself and the phantasms of the masculine iconic.” The subjects of Cocke’s work, soldiers and men of war, are both archetypal in terms of their maleness and representative of the brutality, or the tyranny of love—“Violence is an expression of love,” says the artist. These portraits are intimately close, yet historically displaced and out of reach. Ain Cocke (rhymes with “smoke”) is a native of California and currently resides in China. He has shown his work in group exhibitions at Deitch Projects, Marc Selwyn Fine Art and Goff + Rosenthal Berlin, among others. He received his MFA from Yale in 2004. Ain’s work will be included in the 25th anniversary exhibition at Lehman College in October 2009.

Simon English combines painting, drawing and written narrative to create small and large scale works that fit somewhere in between the definitions of all three. In the artist’s own words, he uses drawing as “a unique engine in which to power and fuel the subject of the work across the blankness of the empty page.” Thematically, English’s subject matter remains deeply rooted in English literature and culture, and in his own biographical narrative. The most remarked on element of English’s work is its Englishness. The drawings are a complicated matrix of literary references such as Christina Rossetti and Byron, of acerbic double-entendres, bawdy jokes and skewering wit, pastoral country house fantasies and distinctly urban pursuits such as orgies and gay cruising. Each work has its own internal logic, in which supposedly “high” and “low” become flattened into one scene encompassing a multiplicity of perspectives and desires.The content is both sad and comic, both prudish and perverse, in a way that is distinctly English: it is truly arsenic and old lace. In 2005, English’s work was included in the "Contemporary Erotic drawing" show at the Aldrich Museum in Connecticut and his monograph"Simon English and the Army Pink Snowman" (Black Dog Publishing) was released by with extensive essays from Bill Arning and Stella Santacatterina. He has
had solo gallery exhibitions in London, Berlin, Zurich and, most recently, in Paris at Agnes b.’s Galerie du jour. His work is in the collections of Agnes b., France, The Louisiana Museum, Denmark, The Falkenberg collection, Hamburg, The Arts Council of Great Britain, The British Museum, The Paisley Museum Scotland and the Saatchi Collection, London, among others.
Recent acquisitions include the Louisiana Museum in Denmark, Essl Collection in Austria, and
Simon’s work is currently on view at the Louisiana Museum until September 2009.

Isca Greenfield-Sanders presents a new series of prints drawn from her earlier thematic series of paintings. Isca Greenfield-Sanders’ paintings draw on art historical antecedents including Thomas Eakins, Henri Matisse, David Hockney, Edouard Manet, Winslow Homer, Francisco de Goya y Lucientes, Claude Monet, and Andy Warhol . Her subject matter is deliberately low- key and subtle. Greenfield-Sanders primary concerns are the thematic and formal possibilities of landscape painting and the relationship between memory and landscape—how universally recognizable places (beaches) can evoke both deeply personal and communal memories and associations. On a formal level printing is integral to Greenfield-Sanders’ work, which combines the digital with the handmade.

Isca Greenfield-Sanders lives and works in the East Village and on a lake in the Hudson Highlands. Her work is included in many private and public collections including The Guggenheim Museum in New York. In early 2006 her work was the subject of a two-person exhibition at the Museum Mosbroich in Leverkusen, Germany. Her work has been the subject of articles in many magazines and publications including Art News, Tema Celeste, Elle, Departures, Vanity Fair, Elle Décor, and Art Forum. Isca will open a solo show of new paintings at Baldwin Gallery in Aspen in late June 2009. And her prints will be included in a show this summer, In their own Right: Contemporary Women Printmakers at the McNay Art Museum June 24-August 23, 2009 . Artists in the show include Vija Celmins, April Gornik, Dorothy Hood, Yvonne Jacquette, Jane Kent, Agnes Martin, and Louise Nevelson. Recent acquisitions include the Brooklyn Museum of Art in New York and The McNay Art Museum in Texas.

Scott Hunt finds source materials for his drawings by scouring flea markets for discarded snapshots and then borrows elements from these anonymous pictures—a figure, a bit of architecture, a family pet or lawn ornament—and invents a new narrative around which he constructs the drawing. The final drawing is an amalgam of found elements imbued with a dry and sometimes ironic sense of humor that is uniquely Scott’s own. Hunt's influences are diverse: Edward Hopper, Charles Addams, Henry Darger, Balthus, Joyce Carol Oates and Robert Frank among them. In many ways absurdly grotesque, Hunt’s imagery is also hauntingly beautiful and enigmatic. For example, Pursuit shows a young, almost prepubescent bride, posing on the chapel steps. Shining in her white wedding dress before the shadows of the church’s interior, butterflies surround her head, inviting the comparison of moths to a light.
Scott Hunt is a recent recipient of a Pollock Krasner Grant, a New York Foundation for the Arts
Fellowship and has shown his work in New York and Berlin. His work is in the collection of the Israel Museum and private collections worldwide. Scott will participate in an upcoming group show at Berlin’s Cream Gallery in November 2009.

Faris McReynolds explores how the meaning of an image is broken down through dense layers of interpretation and appropriation: from film to video; video to digital media; from digital media to paint. Depicting social activities of groups, Faris magnifies the contrast between the immediacy of spectacle and the slow reveal of an event’s details. He bestows the mundane activities of our selfcongratulating, shameless American culture with a sense of seduction, violence, intrigue and suspense. Stylistically ranging from an expressionistic, palette-knife impasto to a more delicate watercolor, McReynolds’ work reflects a historically diverse range of influences including Bacon, Warhol, the Impressionists, wartime paintings, meat paintings, Richard Prince and Kurt Vonnegut. Using a loose narrative style and a seamless melding of assorted techniques, McReynolds immortalizes the fleeting and the minute in highly saturated and boldly contrasting colors. Faris McReynolds received his BFA from Otis College of Art and Design in Los Angeles, California in 2000. He has exhibited world-wide, including a solo exhibition last year at Tim Van Laere Gallery in Antwerp, Belgium. In 2006, McReynolds had solo exhibitions at Roberts & Tilton in Los Angeles and Gallery Min Min in Tokyo. Additionally, McReynolds’ work has been featured in Details, Art Papers, Flash Art, Tema Celeste, Artweek and Art US.