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until May 5, 2019

"Breadth" is curator Jill Moniz’s response to the exhibition Outliers and American Vanguard Art. Featuring works by Sean Dougall, Andrew Paulson, Yrneh Gabon, Gronk and Marisela Norte.

The Good Luck Gallery
945 Chung Kind Road, Los Angeles, CA 90012

From The Good Luck Gallery's Press Release:

Breadth is curator jill moniz’s response to the exhibition Outliers and American Vanguard Art, in which she insists on a fresh look at the language and aesthetics to break down categories and controlling narratives. Breadth examines what it means to be a maker with intention and emotion, where making is the expressive conduit of creative energy without consideration of the canon or the exclusionary institutional gaze.

Sean Dougall and Andrew Paulson, Yrneh Gabon, Gronk, Debbie Han, Ed Love (1936 -1999), Dominique Moody, Marisela Norte, and Ann Weber, actively resist labels, expanding the idea that art is both an impulse and a sustaining practice. Each artist has been influenced by the multiple border crossings and intersections that constitute and give breadth to Los Angeles artists communities.

Breadth looks at and through the convergence of space, time and materials to work that defies boundaries, focusing on the limitless impact of the processes of creativity for both the maker and the participant. These artists are not interested in polite, distant viewing; instead they see their work as catalysts for a necessary visual literacy because these works insist on engagement. Their work is self-referential in that there is a familiarity with the subject as something relatable, experienced historically and knowable.

Los Angeles native Ed Love began working with discarded chrome bumpers in the early 1960s searching for a material that, in his words, could confirm memories and prophecies of spirits. He considered himself a blacksmith, creating work for generations to come to use as guides and reminders of what is possible. By the 1980s when chrome was no longer readily available, Love started welding steel, experimenting with the concepts of balance, weight and materiality.

Glugio Nicandro, known as Gronk is a self-taught performance artist and painter who for over 30 years has electrified the LA art scene with his paintings and theatre backdrops and performances. Gronk makes space for people to experience art as a fundamental aspect of life.

Ann Weber is interested in transforming common materials into surprising and often playful works of art. Like Gronk and all the Breadth artists, Weber sees art as integral to life. Her transformative process reminds the viewer that things are not always what they seem, a fitting theme for an exhibition that challenges perceptions about artists and art.

Dominique Moody earned a BFA from Berkeley in painting before a degenerative eye disease rendered her legally blind. She turned to sculpture and tactile objects to continue her art practice. Her work is filled with emotion, narrative history and the compulsion to make despite, and in spite of, obstacles.

Yrneh Gabon is a Jamaican artist who began his career as an actor and singer. His two dimensional and plastic arts practice translates his love of storytelling and cultural documentation into visceral objects. Gabon’s work in Breadth comes from his residency in Mexico City, where he combined traditional, indigenous materials such as cactus fiber lace with gold leaf to illuminate the importance of knowing one’s history.

Voted one of the ten most global artists to watch by ArtandOnly in 2017, Debbie Han’s work is as fluid and polyglot as her personal mobility in the world. Han challenges the assumptions of aesthetic language, making room for a new, inclusive vernacular that extends time and expands meaning.

Marisela Norte is known for her poetry, particularly her 2008 book Peeping Peeping Tom Tom Girl. Like her poetry, her photographs explore the unseen, othered people and aspects of city life in LA. She captures color fields and vignettes of urban life with a quintessentially California eye.

Dougall Paulson is a design team that stretches traditional materiality to its limits. Always seeking to explore and highlight the versatility and durability of craft, Sean Dougall and Andrew Paulson make objects that are both functional and aesthetically sublime.

jill moniz brings these artists together at The Good Luck Gallery as Breadth, a glimpse into the possibility of art without labels.

until May 11, 2019

Galerie ART CRU Berlin and Kunstmuseum Thurgau are exhibiting 30 works by Hans Krüsi in "Hans Krüsi – From Orphan to Genius", with some works on public display for the first time.

Galerie Art Cru Berlin
Oranienburger Str. 27, 10117 Berlin, Germany

From Galerie Art CRU Berlin Press Release:

Gallerie ART CRU Berlin and Kunstmuseum Thurgau are exhibiting around 30 works by Hans Krüsi (1920-1995). They have been selected to provide a comprehensive overview of his rich output, revolving around the topic of self-discovery and self- representation. In addition to non-salable main works, several selected pieces will be put on public display for the first time.

Hans Krüsi grew up as an orphan in the canton of Appenzell, always on the margins of society. As a young man, the autodidact wanted to be a gardener and for years sold self- bound bouquets on Zurich’s Bahnhofstraße before expanding his “product range” with hisfirst works of art such as postcards, photographs and small-format drawings. The compositions – initially created on napkins, cardboard and wrapping paper – depict landscapes, animals and humans, often arranged in silhouette-like symmetry or serial repetition. First artists, then gallery owners, and finally the press became aware of the eccentric outsider artist, who suddenly found himself in the spotlight. The experimental artist was soon able to make a living from his multimedia works. He created handheld cinemas, photographed his surroundings with a Polaroid camera and reproduced his images using a photocopier, only to paint over them again. Within photography, the artist was especially interested in flaws and imperfections: photos were often over- or underexposed, blurred, distorted or cut off. He continued to modify them, carving or cutting them. His motifs were deeply influenced by the Appenzell Alpine landscape. He drew or painted ghost-like figures on basically everything he felt like. Notably, he made the streets of Zurich and St. Gallen his stage, playing the role of an unconventional salesman.

Krüsi had little outside contact, hardly any family ties and became increasingly distanced from society and its norms. Throughout his life he remained in a fragile condition due to a history of tuberculosis. A congenitally weak state of health, problematic living conditions and a poor diet led to several stays in hospitals and nursing homes. During the final years of his life, his symptoms intensified. In September 1995, the artist died in his home due to pulmonary emphysema.

until June 21, 2019

29 March - 21 June, will see Artlink Hull playing host to Conversations Series II as part of its tour. This iteration of the series delves into feelings and thoughts about the labels placed upon artists by society, and the art world more broadly. Continual conversation and a sharing of art practices have resulted in the new work that you will see in ‘Other Transmissions.’ The artists are: Joe Beedles, James Desser, Amy Ellison, Frances Heap, Andrew Johnstone and John Powell-Jones, and facilitated by James Pollitt and Jennifer Gilbert from Venture Arts.

The new works created will be exhibited at Artlink alongside iconic pieces from the Whitworth’s Musgrave Kinley Outsider Art Collection, one of the most significant public collections of Outsider Art in the UK, including work by Judith Scott and Henry Darger. Six students from the University of Salford have been documenting the residency throughout using photography, film and drawing, and their resulting works will be shown alongside the residency artist’s works at Artlink too.

Artlink Hull
87 Princes Ave, Hull, HU5 3QP, UK


until May 4, 2019

"Playing Games: Chance, Skill, and Abstraction" features George Widener’s works depicting futuristic games in conjunction with vintage game boards, works of geometric abstraction, and games of chance. 

Ricco/Maresca Gallery
529 W. 20th St, New York, NY 10011 

From Ricco/Maresca press release:

Classic games are gateways to the past. George Widener’s recent work transports us to an unfamiliar future where history is condensed into dates and numerical patterns. “Playing Games: Chance, Skill, and Abstraction” is curated around this convergence of tradition and innovation, presenting vintage American gameboards and carnival games (dating between the late 19th and the mid 20th century) in dialogue with Widener’s works depicting hyper-complex games—meant to be played by enhanced humans or intelligent machines when advanced non-biological intelligence, or “Singularity,” becomes a reality. Isolated from their initial context and purpose, the early examples of carnival games and handmade gameboards overlap with (and in many cases precede) modern art, particularly works of geometric abstraction. This exhibition highlights the inventiveness of countless anonymous artists who produced functional games that are also readymade works of art, displaying them as counterparts to Widener’s “Magic Square” and “Magic Circle” series.

Modern board games developed as a result of the Industrial Revolution and the emergence of the middle class, but they have many predecessors going back to ancient times—with dice being at the core of humanity’s oldest games. The tradition of American board games dates back to the first quarter of the 19th century, when most pieces were homemade and not subject to strict designs, save for the basic structure of the game. “Playing Games” includes examples of Parcheesi boards, identifiable through their “cross and circle” arrangement—four nests (or starting points) and a “home” center or nucleus—which varies from one case to the next in the same way that late 19th century strip quilts bend and reinterpret inherited templates. Also included are games of Checkers (or “Draughts”) and Halma; austere 8” x 8” and 16” x 16” grids of squares in alternating colors—the latter characterized by four “camps” of dotted squares clustered in the corners—as well as the star-shaped “Chinese Checkers” (invented in Germany as a variation on Halma), bean bag toss and ring toss games, and two wheels of fortune that were originally funfair attractions.

The flat architecture of geometric shapes on a non-perspectival space, the focus on form, color, and spatial relationships on all these games echo modernism’s pull toward abstraction and minimalism. The materiality of their surfaces—the scratching, peeling, craquelure, and shrinkage; the interaction between the sublayer and the pictorial layer (which can only take place in time)—is the patina of authenticity, witness of the object’s former life. Widener’s futuristic “game” works, on the other hand, thrust us to a strange new world where people and smart technologies will have extraordinary memory and calculation abilities through genetic and technical advancements: “Machines will become a new species with higher creative intelligence and humans will be enhanced with skills that seem implausible today,” explains the artist.

Even as a child, Widener would transform the numbers around him (a license plate, a house number) into dates. This evolved into an intense fascination with calendars, historical events, numerical systems, and the ebb and flow time—heightened, or perhaps caused, by Asperger’s and the innate lighting calculation, memory, and drawing skills that came with it. As part of his ambitious oeuvre, the artist has been crossbreeding calendrical dates with magic squares and other mathematical systems for more than two decades. Magic squares are grids of integers where all rows and columns add up to an identical sum. Widener used this model to create a “magic time square,” fitting dates into the square’s numbers—and making those dates add up to an identical sum instead. The next task was to create dates that not only resulted in an identical overall figure, but that revealed a common theme. Much in the same way as traditional board games, the geometric framework is purely self-referential, but in Widener’s case it can be assigned shifting meanings and values. “For example, I might fit natural disasters … and find hurricanes that not only fit the integers but also occurred on Fridays,” he says. “This idea has appeared in my past work in various ways: I created stacks, sequences, and progressions of dates using similarities and differences. The resulting ‘Magic Circles’ series allows the user to ‘program’ it; to choose a specific theme and then fit the provided days of the week with appropriate dates. When artificial intelligence occurs, these ‘crossdate’ or ‘crosstime’ puzzles will become feasible games and then hopefully they’ll be awakened.”

Games fall into two categories, those that demand strategy and skill and those that function as physical manifestations chance. At the core or this is an essential dichotomy: owning one’s own destiny or being at the mercy of forces beyond control; the blind and fickle wheel of fortune on one end and on the other Widener’s intricately detailed works, which also happen to function as “games,” or as a means of containing chaos and giving shape to that which would seem to have none.

-Alejandra Russi

March 31 – August 4, 2019

The Wilhelm Hack Museum in Ludwigshafen, the Prinzhorn Collection in Heidelberg and zeitraumexit in Mannheim, together with Galerie Alte Turnhalle in Bad Dürkheim and Museum Haus Cajeth in Heidelberg, will be illustrating the significance of plants as projections of mental states in a variety of contexts, in "Gewächse der Seele – Floral Fantasies between Symbolism and Outsider Art".

Wilhelm Hack Museum
Berliner Straße 23, 67059 Ludwigshafen am Rhein, Germany