Tag Archives: painting

EXHIBITION: PARKER ITO AT CHATEAU SHATTO

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Parker Ito’s show at Chateau Shatto, A Little Taste of Cheeto in the Night, is a fully-immersive, claustrophobic, phantasmagoric experience. The artist transformed a vast, multi-roomed warehouse behind the gallery with architectural interventions, punching holes in the walls and ceiling. Double-sided paintings hang from silvery chains and LED light strands, and the floors are haphazardly carpeted in astro-turf and red plush. Custom-made slippers, screen-printed buckets, ceramic figurines and action figures litter the space, sometimes in precise constructions, and at other times lying about in wait for a crushing step. Photos simply don’t do the show justice; go and see it for yourself before it closes on April 26.

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EXHIBITION: BERNARD PIFFARETTI AT CHERRY & MARTIN

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Bernard Piffaretti’s show at Cherry & Martin features a number of works in a signature style that the artist has used since the 1980s. He begins by dividing the canvas with a line of color, and the painting that results looks like a diptych duplicate, two versions of the same image sharing a canvas with the originary line designating their “personal space”, giving the exuberantly colorful forms a little breathing room. But Piffaretti doesn’t think of his painting halves as duplicates. Rather, they are half-answers to a question, negations that return the viewer to the starting block.

The exhibition statement quotes Piffaretti:
“A copy is made in relation to a final state.” Duplication is a postponement – a break in the action that allows the viewer to see both sides of the canvas. An uncanny pattern emerges in Bernard Piffaretti’s paintings as Arielle Blair has written, “the eye wanders back and forth attempting to unlock the puzzle of the self-contained meme and decode the artist’s experiments in variation.” “The principle rule of dividing the canvas,” provides “a platform while functioning as an anchoring device of each painting.” “Piffaretti’s duplicated paintings are neither exact copies of one another, nor are they independent images.” They “make us do a double take, defying the stagnancy of certain abstract painting.”

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ANDREW CANNON : CHEMICAL COMPUTER

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Andrew Cannon, L.C.T., 2014, PVA matte medium, adhesive size, acrylic, metallic foil, and pigment foil on panel, 24 x 20″ (photo by and courtesy of the artist)

If you live in the Los Angeles area, you must go and see this exhibition of paintings by Andrew Cannon at the Santa Monica Museum of Art! Cannon is interested in holography and alchemical processes. His paintings are beautifully layered with various mediums, paints, and metallic foils, giving them a wonderful texture and lustrous iridescent shimmer. Materials are transferred onto the canvas through a variety of processes and mark making techniques – baking, spraying, pouring, fingerprinting, etc. To really understand the complexity and beauty of these paintings they must be viewed in person. Chemical Computer is on view until  July 12, 2014.

Andrew Cannon, Berenice, 2014, PVA lenticular print, holographic foil, adhesive size, and car truck spatter paint on panel, 24 x 20" (image courtesy of the artist, photo by Jeff McLane)

Andrew Cannon, Berenice, 2014, PVA lenticular print, holographic foil, adhesive size, and car truck spatter paint on panel, 24 x 20″ (image courtesy of the artist, photo by Jeff McLane)

 

Andrew Cannon, Monogram Advantium, 2014, spray paint, adhesive size, metallic foil, and pigment foil on panel, 24 x 20" (photo by and courtesy of the artist)

Andrew Cannon, Monogram Advantium, 2014, spray paint, adhesive size, metallic foil, and pigment foil on panel, 24 x 20″ (photo by and courtesy of the artist)

 

Installation View, Andrew Cannon: Chemical Computer, Santa Monica Museum of Art, 2014 (image courtesy of the artist, photo by Jeff McLane)

Installation View, Andrew Cannon: Chemical Computer, Santa Monica Museum of Art, 2014 (image courtesy of the artist, photo by Jeff McLane)

 

Andrew Cannon, Imperial Griddle, 2014, PVA, automotive paint, spray paint, adhesive size, metallic foil, and pigment foil on panel, 24 x 20" (photo by and courtesy of the artist)

Andrew Cannon, Imperial Griddle, 2014, PVA, automotive paint, spray paint, adhesive size, metallic foil, and pigment foil on panel, 24 x 20″ (photo by and courtesy of the artist)

 

Installation View, Andrew Cannon: Chemical Computer, Santa Monica Museum of Art, 2014 (image courtesy of the artist, photo by Jeff McLane)

Installation View, Andrew Cannon: Chemical Computer, Santa Monica Museum of Art, 2014 (image courtesy of the artist, photo by Jeff McLane)

 

Andrew Cannon, Prime Blodgett, 2014, PVA spray paint, adhesive size, pigment foil, and holographic foil on panel, 24 x 20" (photo by and courtesy of the artist)

Andrew Cannon, Prime Blodgett, 2014, PVA spray paint, adhesive size, pigment foil, and holographic foil on panel, 24 x 20″ (photo by and courtesy of the artist)

 

Andrew Cannon, Wedgewood Holly, 2014, PVA, automotive paint, adhesive size, metallic foil, and pigment foil on panel, 24 x 20" (photo by and courtesy of the artist)

Andrew Cannon, Wedgewood Holly, 2014, PVA, automotive paint, adhesive size, metallic foil, and pigment foil on panel, 24 x 20″ (photo by and courtesy of the artist)

 

Andrew Cannon, Diatom, 2014, PVA, pigment foil, metallic foil, holographic foil, adhesive size, and paper on panel, 24 x 20" (photo by and courtesy of the artist)

Andrew Cannon, Diatom, 2014, PVA, pigment foil, metallic foil, holographic foil, adhesive size, and paper on panel, 24 x 20″ (photo by and courtesy of the artist)