Thursday, March 24, 2011

Opening Tomorrow: Jimbo Blachly "Lanquidity" @ Winkleman Gallery, and in the Curatorial Research Lab "Signs on the Road," March 25 - April 30, 2011

Jimbo Blachly

March 25 - April 30, 2011
Opens March 25 6:00 PM - 8:00 PM

Winkleman Gallery is very pleased to present Lanquidity, our first solo show of paintings by New York artist Jimbo Blachly. Known for his sculpture, installations, and his collaborations with Lytle Shaw as editors for the Chadwick Family (who will have another exhibition at Winkleman Gallery this spring), Blachly secretly took up painting again four years ago after a 30-year hiatus. While immediately recognizable as having Blachly’s sensibility, the landscapes and geometric abstractions he created, and only recently revealed to anyone, display a lifetime of closely examining what painting can be at both the micro and macro levels. This examination stems in part from Blachly’s day job in an art conservation studio, where his constant contact with major twentieth-century paintings involves interacting with them both as physical objects and as artworks.

Intimate, fragmentary, allusive, Blachly’s small canvases evoke at once romantic depictions of sublime experience (from earlier Europeans like Palmer and Turner to the later Americans like Blakelock and Ryder) and modernist abstraction a la Palermo or the late work of Picabia. And yet the relation between these references is strangely and perhaps surprisingly unified—since it is as if Blachly zooms in to the figurative, dramatic world of Romantic painting in order to reveal a domain of largely figureless abstraction, of down time within the world of the sublime. This excavation of quiet ambience from a world of keyed-up intensity runs throughout Blachly’s painting, which often explores installation logics by working in small constellations or configurations. Devastatingly gorgeous, Blachly’s canvases evoke the grainy surface next to the grand event.

The installation for Lanquidity, as with most of Blachly’s exhibitions, will be decidedly “site determined,” worked through intuitively, with the dual goals of presenting each painting as an individual work and highlighting rhythms and connections between works up until the final moments before he concludes the installation is complete. The exhibition also will feature several notebooks and framed drawings.

Jimbo Blachly’s work has been exhibited widely including at the Sculpture Center, Long Island City, NY; Elizabeth Harris Gallery, New York, NY; Cirius Arts Center Cobh, Ireland; and Hunter College’s Bertha and Karl Leubsdorf Art Gallery, New York, NY. He has received fellowships from the Farpath Fellowship, Dijon, France, and the Bellagio Fellowship from the Rockefeller Foundation. He earned his BFA from The School of the Art Institute, Chicago, IL, and his MFA from University of Wisconsin, Madison, WI.

And in the Curatorial Research Lab

Signs on the Road
Organized by: Workroom G; Curated by: Gogue Projects (Phase 1), Cathouse FUNeral (Phase 2), Camel Collective (Phase 3)

March 25 - April 30, 2011
Opens March 25 6:00 PM - 8:00 PM

Artists often fixate on particular found material (imagery, objects, quotes, fragments of text, etc.) that reveals no direct connection to their practice but that possesses for them an enigmatic, resonant meaning. This material may serve as a beacon for their practice, suggesting an unrealized and indeterminate potential for future work. Perhaps this material is the uncanny of artistic practice.

For this exhibition we collect such material from over a hundred and fifty artists, each invited to submit a single-page digital file to be printed on an 8×10-inch sheet. This small archive will be handed over to three curatorial collectives, each of whom will mount a treatment and exhibition in the diminutive (10-foot by 10-foot) Curatorial Research Lab at Winkleman Gallery. Despite the collection's necessarily small scale, we hope for a different order of insight than can be derived from primary artistic production. What if, for a moment, we treat such secondary material as primary? We are curious to see what tentative and comparative understandings can be drawn regarding a collective sensibility of the moment. Could organizations of this archive serve as signs on the road toward something beyond its constituent parts?

Workroom G is Michael Ashkin, Leslie Brack, and Joshua Geldzahler

Gogue Projects is Matt Freedman & Jude Tallichet

Camel Collective is

Cathouse FUNeral is David Dixon, Karen Miller, Pete Moran

ARTISTS: David Adamo, Alyson Aliano, Greg Allen, Meredith Allen, Robert Andrade, Mirene Arsanios, Michael Ashkin, David Atkin, Nancy Baker, Conrad Bakker, Michael Ballou, Sarah Bedford, David Beneforado, Annie Berman, Eric Ross Bernstein, Roberto Bertoia, Mary Walling Blackburn, Lee Boroson, Leslie Brack, David Brody, Monica Burczyk, Pam Butler, Sharon Butler, Holly Cahill, Zachary Cahill, Tiffany Calvert, Francis Cape, Zhiwan Cheung, Piotr Chizinski, Jennifer Coates, Elisabeth Condon, Anne Connell, Diana Cooper, Daniel Cosentino, Amie Cunat, Elizabeth Dadi, Iftikhar Dadi, Jennifer Dalton, Donna Dennis, David Dixon, Ben Draper, eteam, Julie Evans, Anna Faroqhi, Anoka Faruqee, Renate Ferro, Paul Festa, Matt Freedman, Carolyn Funk, Lee Gainer, Joshua Geldzahler, Benj Gerdes, Lindsey Glover, DeWitt Godfrey, Maximilian Goldfarb, Edward M. Gomez, Anthony Graves, Lisa Hamilton, Shadi Harouni, David Hartt, Kirsten Hassenfeld, Jennifer Hayashida, Eric Heist, Amy Helfand, Alika Herreshoff, Clara Hess, Bob Hewitt, Susan Homer, Bettina Hubby, David Humphrey, Gabriela Jimenez, Christopher Lowry Johnson, Ron Jude, Martine Kaczynski, Efrat Kedem, Christine Kelly, Daren Kendall, Baseera Khan, Elke Krasny, Larry Krone, Lasse Lau, Jill Lear, Ronna Lebo, Diana Seo Hyung Lee, Karen Leo, Jason Livingston, David Lukowski, Pauline M'barek, Rose Marcus, Justin Martin, Mark Masyga, Graham McDougal, Todd McGrain, Doug McLean, Vincent Meessen, Danielle Mericle, Elisabeth Meyer, Andrea Minicozzi, John Monti, Pete Moran, Ray Mortenson, Erik Moskowitz & Amanda Trager, Carrie Moyer, Nicholas Muellner, Chris Nau, Yamini Nayar, Gregor Neuerer, Jennifer Nichols, Meredith Nickie, Marty Ohlin, Chris Oliver, Craig Olson, Ruth Oppenheim, Maria Park, Ahndraya Parlato, Ditte Lyngkaer Pedersen, Liza Phillips, Anna Pinkus, Maggie Prendergast, Johannes Paul Raether, Paul Rajakovics, Cuba Ray, Dylan Reid, Thomas Rentmeister, Noah Robbins, Christopher Robinson, Kay Rosen, Douglas Ross, Benjamin Rubloff, Kathleen Rugh, Rachel Salamone, David Scher, Mira Schor, Peter Scott, Dennis Sears, Daniel Seiple, Rachel Selekman, James Sheehan, Buzz Spector, Suzy Spence, Liz Sweibel, Stan Taft, Jude Tallichet, Nick Tobier, Nathan Townes-Anderson, Jeanne Tremel, Lauren Valchuis, Chris Werner, Leslie Wilkes, Sammy Jean Wilson, Karen Yasinsky, Bernard Yenelouis

Labels: Curatorial Research Lab, gallery artists' exhibitions


Anonymous Cathy said...

I'm curious as to why Blachly painted in secrecy. Was it to protect the work or the act of painting? Also, the hanging strategy reminds me of a grouping of Morandi paintings at the Morandi Museum. The curators used the exact wall arrangement that the collector (and donor, I presume) lovingly arranged in his home.

3/25/2011 09:16:00 AM  

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