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Angry Atlantic (Sandy), 2012 Reconfigured Golf Bag Parts On Wood Panel 52 X 48 X 14 Inches © Courtesy of the artist & Pavel Zoubok Gallery

531 West 26th Street
New York, NY 10011
March 28th, 2013 - April 27th, 2013
Opening: March 28th, 2013 6:00 PM - 8:00 PM

Tue-Sat 10-6
assemblage, mixed-media


Pavel Zoubok Gallery is pleased to invite you to an exhibition in Gallery 1 by multidisciplinary artist and golf aficionado CHARLES McGILL, whose recent assemblages of reconstructed golf bags explore the intersections of race, class and politics. In Gallery 2, self proclaimed “stuff maker” and Emmy Award-winning video artist MAC PREMO presents a series of intimate mixed-media constructions that continue his investigation into organizational systems and the cyclical nature of experience. Our Cabinet gallery features contemporary and modern works that give historical context to these distinct, but congenial exhibitions.

Using golf bags as his raw material, artist CHARLES McGILL literally transforms the “baggage” of this iconic American sport into semi-abstract reliefs that evoke a visceral response through the physicality of their material - the vinyl and leather “skins” of repurposed golf bags, while simultaneously engaging a discourse on race, class and the politics of exclusion. McGill’s exploration into the subject and substance of golf began in the late 1990s with provocative performance works set in urban neighborhoods and aptly titled The Artifacts from the Former Black Militant Golf and Country Club. The works, which featured McGill in flamboyant golfer’s regalia literally and figuratively playing with racist stereotypes, were followed by a series of “beautified” golf bags collaged all over with images from mass culture. 

In his recent series, SKINNED, McGill completely deconstructs found golf bags, assembling them into sculptural forms that often include figural references. The violent process of ripping, cutting and twisting his material, which the artist compares to butchering and skinning an animal, gives formal and metaphorical intensity to his compositions. Who are these hooded “figures”? Are they Monks? Shamans? Klansmen? The uniformity of their presentation clearly suggests that they are followers, not leaders. This is as much as McGill will concede. The comment was recently made that golf has as much to do with Charles McGill’s art as driving a car does to the sculptures of John Chamberlain. Like the best socially engaged art, the “message” is in the material. And so we are left with more questions than answers, left to ponder the complexities of a world in which our skins define us before we define ourselves.

Charles McGill has exhibited in numerous galleries and museums, including the Wadsworth Atheneum, Lehman College Art Gallery and The Baltimore Museum of Art. His performances, sculptures and installations have met with critical praise from The New York Times, Art in America, The International Review of African American Art, The Brooklyn Rail and Artnet Magazine. He has been awarded grants from the New York Foundation for the Arts and Art Matters, and was recently a Fellow at the Virginia Center for the Creative Arts and “Artist in Residence” at the Museum of Arts and Design.