Marlborough Chelsea is pleased to present The Wall a group e xhibition featuring Sebastian Black\, David Brooks\, Ara Dymond\, Sam Falls \, Brendan Lynch\, Anna Plesset\, Davina Semo\, Clive Smith\, April 4 – May 4\, 2013.
The Wall brings together a group of works that acknowledge and contend directly with the conventions of gallery architecture by breach ing\, puncturing\, picturing\, mapping and sculpting from the uprights of t he near-sacred and truly ubiquitous white cube.
In a typical exhibitio n\, the strange\, endlessly repairable skin of sheetrock is spackled and sk imcoated to perfection each month\, its flat-white\, pebbled orange peel su rface becoming the unheralded and invisible support for art. The Wall featu res paintings\, sculptures and installation pieces that honor the material presence of these surfaces\, forcing the gallery itself into service as an element of the work\, elevating the stage to star player.
With these w orks\, the simple and instructive qualities of white paint are brought into focus\, reminding us that the gallery is\, in a manner of speaking\, a per petual monochrome over which all manner of exhibitions are hung. Clive Smit h’s oil painting of a whitewashed brick wall becomes\, paradoxically\, an e xhaustively rendered abstraction forcing a viewer to acknowledge each delib erate flick of the brush as with a Robert Ryman. Reversing this effect\, Se bastian Black’s sly allusion to an arthandler’s craft\, through the use of subtly tinted patches of spackling over deliberately positioned holes\, cre ates a new work from the labor pentimenti of countless exhibitions that hav e come before.
Brendan Lynch contributes a shoreline of brightly-hued pigment dust that laps at the wall from the floor. Apparently sanded from t he wall\, this work draws our attention to the intersection of the support for works of art and the ground on which a viewer stands\, and appears simu ltaneously as an act of vandalism and the aftereffect of its removal.
Anna Plesset’s painting suggests similarly nefarious origins. Made directly on the wall at another gallery\, the work has been cut out from the sheetr ock\, like smash-and- grab stolen art\, and fastened to the wall of Marlbor ough Chelsea\, forcefully appropriated and recontextualized for this show. Similarly\, Sam Falls’ romantic and reverential rubbings made directly from his studio walls\, lovingly acknowledge the structure and take the artist’ s studio as their quite literal subject\, and are transplanted here as prot o-photographic image-maps.
Sculptors Davina Semo and Ara Dymond both b reach the surface of the wallboard\, inlaying and insetting steel and stone and thereby creating apertures\, orifices and portals (in Semo’s case) and material hybrids that meld and equate matter of starkly different density and heft (in Dymond’s).
Another sculptor\, David Brooks\, gives us an extreme form of this interface by constructing from scratch his own wall an d infusing it with incongruous objects. The embedded objects emphasize natu re in quite literal collision with the built environment. Brooks’ sculpture impedes our easy entrance to the exhibition\, forcing a physical experienc e and relationship to architecture that\, like the walls themselves\, is of ten erased within the gallery.

LOCATION:Marlborough Chelsea\,545 West 25th Street \nNew York\, NY 10001US SUMMARY:The Wall\, Sebastian Black\, David Brooks\, Ara Dymond\, Sam Falls\ , Brendan Lynch\, Anna Plesset\, Davina Semo\, Clive Smith END:VEVENT END:VCALENDAR