Saturday, March 19, 2011

GEORGE KUCHAR was a hit at VOLTA during
New York's art fair week
Check out some of his remarkable drawings and paintings

Artist George Kuchar’s remarkable oeuvre of over 200 films and videos holds a unique place in 20th century cinema. Theorist Gene Youngblood named him one of the great artists in the history of the moving image. He is admired by many notable filmmakers including Todd Solondz, Gus Van Sant, David Lynch, and Brian De Palma. John Waters considers Kuchar and his brother Mike to be his biggest influence, “more than Kenneth Anger or The Wizard of Oz”.

Kuchar’s “Hold Me While I’m Naked”, ranked one of 100 Best Films of the 20th Century by the Village Voice, continues to delight with its mixture of good-natured vulgarity and tawdry humor.

His equally impressive graphic work reflects his involvement in the underground comic scene of the 1970’s where he rubbed shoulders with Art Spiegelman, Bill Griffith and Robert Crumb, publishing in the infamous underground comic “Arcade”.

George Kuchar’s films and videos have been recognized through countless awards and grants, including The National Endowment for the Arts, The Eureka Fellowship Program, and a Ford Foundation Fellowship from United States Artists.

George is the recipient of the prestigious Maya Deren Award for Independent Film and Video Artists from the American Film Institute, and the Los Angeles Film Critics Award for Independent/Experimental Film and Video. His most recent, major work, “Secrets of the Shadow World” received full funding from the Rockefeller Foundation. His’s work has screened around the globe in cinemas, festivals, and major museums, including The Museum of Modern Art in New York and the Pompidou Center in Paris.

Monday, March 07, 2011

Jared Clark at Mulherin Pollard Projects

Long time ADA gallery artist Jared Clark is showing this month at Mulherin Pollard Projects in Chelsea.
Jared Clark’s varied and idiosyncratic art practice encompasses sculpture, drawing, collage and video, playfully transgressing the boundaries between these modes of production. While the act of making is performed explicitly in Clark’s time-based work, there is a lingering suggestion of performance threaded throughout his oeuvre.

Clark’s ‘bilds’ are constructed from materials that are both familiar and odd - cutting boards, luggage, soap, craft paintings, ceramic figurines, map pins, painted rocks, Styrofoam, fruit, and glass - and appear to be simultaneously carefully constructed, balanced and casual. Whether fixed in place with adhesives, or stacked between trees, there is a sense that these structures are provisional, a pause in an ongoing, mutating, stream of creation. Clark approaches history as a material, and much like the objects he picks up and manipulates, it is transformed through his deft touch. His elegant mash-up of minimalism, action painting and pop art shows a striking grasp of color and form, and his delight in materiality is conveyed equally through his use of natural substances, manufactured objects, the old and the new.

Clark’s sculptures and wall pieces are like small islands, gatherings of ceramic figurines and other thrift-store objects huddled together. The poured resin joining them serves as both base and picture plane, confounding our expectations of front and back, or top and bottom. Through his work, Clark pokes at our assumptions, encouraging us to reconsider both art history and the everyday. His actions, and the objects that he offers, are a liberating force that are sure to delight. Clark's work serves as an object lesson, revealing the infinite ways in which the world can be remade.

Don't miss this show peoples!