Showing posts with label The Hole. Show all posts
Showing posts with label The Hole. Show all posts

Wednesday, May 30, 2012

Issue No. 188: BRUCE(X)PLOITATION

BRUCE(X)PLOITATION Signing

Bruce LaBruce takes over The Hole with bloodied x-rated zombie extravaganza in the gallery and a book signing in the shop.
TOMORROW: May 31st, 8-10pm

The Canadian artist, photographer, film maker and gay porn director Bruce LaBruce (www.brucelabruce.com) will be in town long enough to create a gory Polaroid performance piece at The Hole and promote his latest book: Bruce(X)ploitation, a collection of unpublihsed Polaroids. Special guest appearance by Kembra Pfahler!

BRUCE LABRUCE (b. 1964, Canada). Bruce LaBruce’s photographs and films have been exhibited internationally, including numerous world premiers at the Sundance, Berlin and Locarno Film Festivals. LaBruce has written and directed three theatrical productions, the most recent, Macho Family Romance (2009), commissioned by Theater Neumarkt in Zurich. LaBruce was a contributing editor and frequent writer and photographer for New York’s index magazine, and he has also been a contributor to Eye and Exclaim magazines, Vice, Honcho, Inches, Butt, Dazed and Confused, Tetu, Fake, Attitude, Blend, Tokion, Purple Fashion, and The National Post, among others. He currently writes a weekly column for Vice. He has directed a number of popular music videos in Canada, two of which won him MuchMusic video awards. LaBruce’s recent solo shows include "Untitled Hardcore Zombie Project", Peres Projects, Los Angeles (2009), and "Obscenity", a controversial exhibit of new photographs at La Fresh Gallery in Madrid in February, 2012. His 2010 film starring Francois Sagat, L.A. Zombie, premiered as an installation entitled "L.A. Zombie: The Movie That Would Not Die" at Peres Projects, Berlin in 2010. Other noteworthy solo exhibitions have been held at Alleged Gallery, New York; the Pitt Gallery, Vancouver; MC MAGMA, Milan; Bailey Fine Arts Gallery, Toronto; John Connelly Presents, New York; Gallery 1313, Toronto; Antigua Casa Haiku Gallery, Barcelona, and Gallery Wrong Weather, Porto, Portugal. Last year LaBruce directed a restaging of Schoenberg’s melodrama Pierrot Lunaire at the Hau Theater in Berlin.

Taken from press release.

Friday, April 27, 2012

Issue No. 183: Pouring Paint in The Hole (NYC)

Holton Rower
Pour Paintings
April 28th – May 26th, 2012
Opening April 28th, 7-9pm


The Hole is pleased to announce the first New York solo exhibition of pour paintings by Holton Rower. Filling all galleries at the Hole with nineteen enormous pours, Rower will present the variations in technique that produce wildly different effects. From the entrance to the gallery featuring small pours with “hats” as the artist calls them (wood protrusions on which the paint is poured and flows down); to the medium-sized works with hats, some of which flow onto the floor; to the rear gallery where large works both with and without hats feature “exclusions” (where the artist placed obstacles that the paint was forced to flow around then removed); to Gallery Three where he shows five tectonic pours: the variety and intensity of the exhibition is assured.

Rower makes these paintings by pouring fantastic quantities of doctored paint onto plywood: however, the simplicity of this description belies the shocking and unexpected results. The paint flows slowly and determinedly over the surfaces he creates, timed to dry and spread at just the right rate, in color combinations both highly premeditated and fancifully spontaneous. The sloes of paint often fracture, vacillate, clump up, and extrude. Fissures and zigzags abound, as do waterfalls, U-turns, and smears, but always the flow triumphs. The textures of paint, mixed on occasion with reflective elements, opalescent admixtures, and spicy sparkling polishes, vary widely and behave differently. Paint here is truly on parade.

The works have a relationship to color field painting and other formal explorations of abstract and minimal legacies—the most superficial relationship perhaps to Morris Louis’ “Pour Paintings”—but instead of seeking the autonomy of color, these works are physical, aggressive, literal and muscular. They, of course, are process-driven as the paint is given free reign to be itself, and like the heroic works of the last century do pursue the sublime; but there is nonetheless something else happening here. Rower deals not just with gravity but gravitas.

Rower’s pours come closer to the abstracting nature photos of Edward Weston than to the works of De Kooning or Pollock, painters who, even when most abstract, always left behind traces of the movement of their hands. Meanwhile, the breadth of suggestibility in Rower’s hands-off works spans such a huge range: from the geode-type pieces to the brain scannish works, from spaceships to vertebrae to Northern Lights, lace antimacassars, ghoulish masks, surfaces of distant planets, adipose tissue, underwater mollusks, dendrites, coral, sexual bodies, Christian relics, mitochondria and Golgi complexes: it’s hard for the poetic mind not to run amok.

Rower was born in the psychedelic 60s and grew up working in his father’s construction business, where he learned about heft and weight and managing teams of people to do massive undertakings. The grandson of Alexander Calder, Rower was surrounded by a culture of art making and the influence of amazing cultural figures. He has been developing and perfecting these pours in seclusion over the past five years. Recent shows at Pace last summer, John McWhinnie in New York and forthcoming projects at Shirazu in London are just the beginning of sharing these important works with a broader audience. A catalogue will accompany this exhibition.

Friday, October 28, 2011

Issue No. 138: The Stones in the Hole


Matthew Stone
Optimism as Cultural Rebellion
November 1 – December 10th 2011
Opening November 1, 6-9PM

The Hole is pleased to announce the first comprehensive gallery exhibition in the United States by British artist Matthew Stone.

The exhibition will focus on the intersections between the ideas, photography and sculptures that define Matthew’s work. Alongside his sculptural installations of photography, he will also be presenting a performance at the gallery titled “Anatomy of Immaterial Worlds” (November 3rd at 9pm) as part of the visual art performance biennial PERFORMA 11.

Two large wooden planes bisect the gallery walls and provide a rhythm for the navigation of the space. Photographic nudes printed directly onto birch panels are cut, hinged and folded along the walls and across the floor, in what uber-curator Hans-Ulrich Obrist has described as “a-perspective constellations”. In one work titled “Forever Rules” a large photographic nude is cut into hundreds of squares and attached to fabric that passes through an oak dodecahedron and cube, draping down onto the floor. Whilst Plato’s divine geometry is honored in part, it is simultaneously corrupted by the poetic complexity and beauty of the human body in action, flowing through and against the rigid logic of its geometric counterparts.

The title of the exhibition “Optimism as Cultural Rebellion” should be considered a one-line manifesto, perhaps a “mini-festo”. Since 2004 Matthew has developed a personal philosophy of Optimism, defining it as “the vital force that entangles itself with and then shapes the future.” This timely position permeates all of his activities. Matthew Stone operates as an artist in a total sense: his very being, his community, his lifestyle and its expression dictate the creation of his interconnected works. As well as creating photography and sculpture he works in multiple worlds as curator, philosopher, performer, musician, facilitator and cultural provocateur.

Matthew was born in 1982 and graduated from Camberwell College of Arts, University of the Arts London with honors in painting. After leaving college he masterminded the art-collective-cum-scene !WOWOW! in squatted South-London buildings. Their group shows and parties in empty buildings attracted audiences of over 1500 people and a performance event at the Tate saw a record 4000 people in attendance. Recent solo exhibitions have been presented at V1 Gallery, Denmark; Galerie Paul Freches, Paris; Boyschool, London; Gea Politi, Milan, and Union Gallery, London. I first came across Matthew’s work when Terence Koh presentedTianhuang Dadi at Asia Song Society on Canal Street in 2007.

Recent photographic projects include a collaboration with Givenchy’s Ricardo Tisci for the cover of the 20th anniversary issue of Dazed & Confused magazine and a fold-out sculptural cover for the current Flaunt Magazine. He composes original music for close friend and collaborator, fashion designer Gareth Pugh’s shows and has directed music videos for acclaimed British bands These New Puritans, S.C.U.M and for New York lo-fi band No Bra.



Matt Stone
Residuum
November 1 - December 10, 2011
Opening November 1, 6-9PM

The Hole is pleased to announce the first New York City solo exhibition by sculptor Matt Stone. Matt has created a suite of sculptures for our rear gallery that feature formal geometries explored with flamboyant materials.

The exhibition features nine small wall works comprised of polyurethane foam, spandex, resin and pins. These studies are isolated specimens from his overflowing biospheres in the larger pieces, fragments flung of from his larger work, Seed Crystal. Furnace is the central sculpture in the room featuring three fifteen-foot steel and plexi beams overflowing with colored foam and resin. These components are spun into a whirled tripod making a quartz-like, exotic cluster.

The large group of leaning, elongated triangular tubes in the rear of the gallery is a nod to spiritual minimalist John McCracken and is titled Prism. The multi-material filled tubes contain frozen gestures, spills and drips; and, like an ant farm, embody contained chaotic activity and emergent order.

Matt Stone’s works open up new seams of valuable deposits, as he takes core samples from an as yet unexplored material universe. He nurtures each work like an exotic garden, letting each material iterate into a fantastic and flamboyant new form.

Working previously as an assistant to Judy Pfaff and currently assisting Marilyn Minter-- two very differently glamorous artists-- Matt developed an interest in ways to make the formal fabulous. Planar cuts of foam-filled wood and tenuous geometric wire forms are the beginning of the party he starts with color and texture.

Matt graduated from SVA with a masters in sculpture in 2010. His first solo exhibition was at Like the Spice gallery in Brooklyn this summer.





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For more information please contact
kathy@theholenyc.com or call 212-466-1100.
The Hole is open Tuesday-Saturday 12-7pm
http://www.theholenyc.com
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Saturday, September 10, 2011

Issue No. 119: September in The Hole


                                                                    Evan Gruzis, LA Acid Series No. 5 (Various Plateaus), 2011
       
                                                                               
September 8th, 6pm-Midnight
Celebrate Fashion Night Out in our shop featuring new clothing and installation by Dearraindrop
www.dearraindrop.org

September 10th, 7-10pm
Evan Gruzis, Exotic Beta
Grand Opening in Gallery
www.theholenyc.com

September 15th, 6-10pm
Emerald Couture event and Dirty Durty Diary release party
www.EmeraldCouture.com