Bigindicator

Illiterature

Event  |  Reviews  |  Comments
Grey_2127
1/08/2008, 2008 Ink on Paper 17 X 14
Mcclure_handdrumming
Handdruming (Persian 7), 2008 Teflon Mounted on Museum Board 13.25 X 13.25 Inches
Trepte_cody
Cody on Cage on Joyce, 2008 CD Variable
Takahashi_silk
Fibonacci Scroll, 2008 Human Hair on Silk Panel 14.5 X 52 Inches
Stafford_drift24
Drift #24, 2007 Typewriter Ink on Paper 9 X 9 Inches
Spear_whites
Whites, 2005 Oil on Paper 22 X 30 Inches
Nowicki_incunabula_i
Incunabula 1, 2008 Woven Book Pages With Cotton Thread 11 X 8.5 Inches
Milne_man
Man in the Park Smoking While Reading Newspaper, 2008 Inkjet Photo on Aluminum 72 X 72 Inches
Murphy_evaporate_i
Evaporate, 2006 Oil and Photo on Glass 5 X 8 Inches
Kanarek_yours
Citron, 2008 Laser-cut Rubber, Glue 50 X 50 Inches
Lempert_essexmarket
Language of Space Series, Essex Market, February 3, 2007, 2007 Inkjet Print
Himmelfarb_saysome
Say Some Words, 2008 Ink on Paper 42 X 81
Hutchins_redcaution
Rumination (Red Caution), 2003 Typing on Paper
Herbold_superman1
Superman 131.12, 2001 Lambda Print/ Diasec on Forex and Multiplex Wood 67 X 47 Inches
Ekstrom_wreading2
wreading 2 (Edmund Jabes) Ink on Paper 11 X 14 Inches
Birmingham_gonefishing
Gone Fishing, 2007 Ink, Mylar, Fine Paper 12 X 8 Inches
Illiterature
Curated by: Mark Carter

290 Townsend
San Francisco, CA 94107
November 1st, 2008 - January 3rd, 2009
Opening: November 7th, 2008 6:00 PM - 8:00 PM

QUICK FACTS
WEBSITE:  
http://www.limnartgallery.com
NEIGHBORHOOD:  
SOMA
EMAIL:  
gallery@limn.com
PHONE:  
415-977-1300
OPEN HOURS:  
Tuesday - Saturday 10:00 am to 6:00 pm
TAGS:  
text, mixed-media, digital, video-art, conceptual

DESCRIPTION

This show will travel to the Frumkin Gallery in Santa Monica opening on February 21st.

Language is one of our inventions, essential in a socially organizing species. Creating a written format was a massive forward-thinking innovation enabling communication to be preserved, transported and evolve trans-tribally. It also created a visual format which could operate as a societal inside joke. Calligraphic imagery became the basis for encoding references.

Artists enjoy exploiting our brain’s intent to make this association. Linear meanderings incite viewer tension as we strain to make sense of what we see. Doodles are read as possible hieroglyphic icons. And true text, visually comforting because of its familiarity, is exploited to become classic compositional tools of illusion as well as illustration.

Artists have used representation in their work since the earliest recorded images. The dynamic ranges from the absolute of the landscape and portrait, distorted into abstraction and finally vanishing into minimalism. But what if we consider text as another absolute form? Add to the list of subject matter; a portrait, a still-life, a nude or a verb. The exhibited text works are more optical than literary by artists who traverse this rudimentary part of our brains and invite us to meander in ours. While it’s clear that they all exhibit a love of language, they prefer to keep it at arms length.