MORITZ SCHEPER: THE YELLOW WALLPAPER, ARTREVIEW, JAN/FEB 2018:110
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Kyffhäuserstr. 31
50674 Cologne
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Moritz Scheper: The Yellow Wallpaper, ArtReview, Jan/Feb 2018:110
The Yellow Wallpaper
Ginerva Gambino, Cologne 10 November – 16 December
These days there is no shortage of exhibitions she uses this Carolee Schneeman-inspired fashion we associate with, say, Quentin
focusing on the body in general and the female painting technique to create counterimages Tarantino’s films. This really is an orgy of
body in particular. Yet this is to be expected, of female corporality becomes clear when demeaning brutality. Initially the combination
since the exploration of this issue is as urgent contrasted with Cunt (2014). This insult of American pulp and sexualised violence seems
and topical as ever. Even so, this group show is repeatedly written, in baby blue, on a dirty highly problematic. Yet this concern largely
offers a different approach, connecting the works cleaning rag, summarising a misogynistic view disappears as soon as one flicks through Conte’s
through references (some obvious, some not) of women as contemptible domestic workers. short-story collection Cures for Pouting Girls (2016),
to the eponymous 1892 short story by feminist A more humorous path is taken by Ebecho also on display. These tales, inspired by the genre
Charlotte Perkins Gilman – a tale that obviously Muslimova, whose satirical ink drawings of corporal-punishment fiction (well known
hasn’t lost importance for female artists since show her alter ego Fatebe, a naked pop-eyed via Fifty Shades of Grey, 2011), also show female
it was first deployed in Feminist Art Program’s corpulent, who variously uses her body and caricatures with enormous breasts and water-
Womanhouse exhibition in Los Angeles in 1972. its orifices for her entertainment, for example melon-size bums being sexually humiliated by
In brief, Gilman’s story tells of a female as a human curtain clip in Fatebe window angry men, as a punishment for… nothing much
character confined to a room to recover from curtain (2016), wherein the curtain goes into really. By means of this unrestrained, ultra-
‘nervous exhaustion’. There she discovers her mouth and emerges again somewhere below graphic amplification of casual sexism, in stories
a woman imprisoned inside the pattern her waistline. The raw activism of this cartoon with titles such as ‘Going Down’ or ‘Pamela’s
of the room’s wallpaper, which she begins to character almost functions as an antithesis Hard Day’, Conte forges a clever connection with
rip off, eventually hallucinating that the woman to the woman in Gilman’s story, who is Gilman’s portrayal of a cure that was aimed at
is herself, descending into insanity along the compelled to lie still as part of a resting cure, women’s minds but intended for their bodies.
way. If the story is dominated by techniques because medical science at the time related The dark, at times cynical humour in most
for the pathologising of womenhood, the works physical stimuli to female hysteria. works, especially in those by Conte and
here, by the five female artists, focus instead Movements of female flesh are also Muslimova, manages to remove the sour taste
on the leitmotif of the madness-inducing central to Vanessa Conte’s Polished Out (2017). of moralism from this bitter topic. Nonetheless,
incompatibility between self-image, the image Constructed in panels like pages of a graphic it’s a damning indictment of how women
of women and an actual woman. For example, novel, the drawing shows how a woman’s dead are viewed in our times that Gilman’s story
in her sombre all-over paintings Tar Baby #7 tooth is violently extracted from her mouth. continues to be a reference point for young
and Tar Baby #8 (both 2015), Phoebe Collings- The flapping of cheeks after a slap to the face female artists – even if, as here, it’s wittily
James has applied a wildly patterned black colour or the intrusion of fingers into the oral cavity mobilised. Moritz Scheper
using the sole of her foot. The extent to which are all exaggerated in the kind of pro-violence Translated from the German by Kevin Kennedy
Phoebe Collings-James, Cunt, 2014, oil on cloth, 50 × 53 cm.
Courtesy the artist and Ginerva Gambino, Cologne
110 ArtReview
Nicodim Gallery
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VSF
VARIOUS SMALL FIRES
Eve Wood: Art Reviews – GRIND, Artillery Magazine, August
812 NORTH 3,2016:web.
HIGHLAND AVENUE LOS ANGELES 90038
INFO@VSF.LA / 310.426.8040
8 / 3 / 2016
“GRIND”
By Eve Wood
Vanessa Conte, My Mycena, 2016
The idea of a failed utopia is certainly nothing new as those of us who live in any bustling city like
Los Angeles will tell you, but the way in which this failure is understood can, and must be, redefined
according to the state of disintegration we have become accustomed to. “Grind,” a group exhibition
curated by Joshua Nathanson at Various Small Fires is an energetic, if not somewhat haptic take on the
age-old theme of the city as its own crumbling ecosystem of smog and hopelessness amidst stunning
skyscraper views. Spanning a variety of materials from Vanessa Conte’s beautiful and elegant acrylic on
canvas works to Asha Schechter’s oddly idiosyncratic inkjet prints on adhesive vinyl of everyday objects
like light bulbs and rotten persimmons, the works in this exhibition are all of a piece, and leaves one
wondering if our all too digital future might very well consume us completely.
Made in Space
Art in Review
By ROBERTA SMITH AUG. 1, 2013
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Roberta Smith: Made in Space, New York Times, August 2, 2013:C25
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With New Urgency, Syria’s Women Prisoners, As America Grieved, Debate Ignites in L.A. Over
Museums Aim to Cultivate Drawn by an Artist Who Sports Helped Console a MOCA Hire
Curators of Color Was One Nation
Made in Space
$57 '(6,*1
Art in Review
By ROBERTA SMITH AUG. 1, 2013
Works by, from left, Marcia Hafif, Rebecca Morris, Hannah Greely and Eric Orr in “Made in Space” at
Gavin Brown’s. Courtesy the artists, Gavin Brown's enterprise, and Venus Over Manhattan
Venus Over
ART & DESIGN Manhattan
980 Madison Avenue,
Made in Space
at 76th Street
Art in Review
By ROBERTAGavin
SMITH Brown’s
AUG. 1, 2013Enterprise
620 Greenwich Street,
at Leroy Street, West Village
Works by, from left, Marcia Hafif, Rebecca Morris, Hannah Greely and Eric Orr in “Made in Space” at
BothCourtesy
Gavin Brown’s. through Aug.
the artists, 10 Brown's enterprise, and Venus Over Manhattan
Gavin
If much of the work in this sprawling, energetic twogallery group show
looks fresh and unfamiliar — and as if it might not come from New
Venus—Over
York Manhattan
there’s a reason. Everything on view was made in and around
Los Angeles, fairly recently and often by artists who are either young,
980 Madison Avenue,
unknown in these parts or both. The show’s title, “Made in Space,”
connotes the City of Angels, where, the thinking goes, studio space is
at 76th Street
cheaper and more plentiful and the general horizontal openness gives
Gavin Brown’s
everyone Enterprise
more time and privacy to develop.
620 Greenwich
Certainly Street,
the work there often seems looser, brighter and generally
more at ease with itself compared with what is found in New York.
at Leroy Street, West Village
There’s a greater tolerance for painting of all kinds, even fullon or
Works by, diluted,
Both and less
through
from left, Marcia Aug.
Hafif,ofRebecca
a mania
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Morris, minimal austerity.
Greely and Eric Orr in “Made in Space” at
Gavin Brown’s. Courtesy the artists, Gavin Brown's enterprise, and Venus Over Manhattan
“Made
If muchinofSpace” wasinfirst
the work thisseen in Los Angeles
sprawling, at twogallery
energetic Night Gallery, which
group is
show
overseen
looks byand
fresh Mieke Marple and
unfamiliar Davida
— and as if itNemeroff,
might nota come
youngfrom New
photographerdealer formerly
York — there’s a reason. of New
Everything onYork
viewwhose largeincolor
was made and closeups
around
Venus Over Manhattan
of
Loshorses are fairly
Angeles, represented here.
recently and The show
often is probably
by artists lesseither
who are a snapshot
young,of
the
980Los
unknown Angeles scene
in these
Madison than
parts
Avenue, of theThe
or both. ecumenical tastes
show’s title, of itsin
“Made organizers:
Space,”
Laura Owens,
connotes an established
the City painter
of Angels, where, who
the decided
thinking against
goes, studioincluding
space is her
at
own76th
cheaper Street
workandin more
the show, and Peter
plentiful Harkawik,
and the a younger openness
general horizontal sortof painter
gives
photographerdealer formerly of New York whose large color closeups
of horses are represented here. The show is probably less a snapshot of
the Los Angeles scene than of the ecumenical tastes of its organizers:
Laura Owens, an established painter who decided against including her
own work in the show, and Peter Harkawik, a younger sortof painter
who favors decals on clear vinyl at Gavin Brown (and who has his New
York solo debut at Knowmoregames, a gallery in Carroll Gardens,
Brooklyn, through Aug. 30).
The younger set gets solid backup at both galleries from older artists
like Rebecca Morris and David Korty (both especially impressive),
Derek Boshier, Jim Isermann, Jorge Pardo, Allen Ruppersberg and
Peter Shire, a wellknown ceramistsculptor and founding member of
the design group Memphis, whose Memphisy benchsculpture
brightens the entrance at Gavin Brown.
But it is mostly works by artists in their 30s with little or no New York
exposure that steal the show. These include Laeh Glenn’s small, quirky
paintings; Patrick Jackson’s handsome bucketsize ceramic cups; John
Seal’s stylistically varied paintings (as well as Aaron Wrinkle’s); and a
charcoal rubbing on canvas by Joshua Callaghan of a Ford Focus. The
efforts of Vanessa Conte, Lucas Blalock, Gabrielle Ferrer, Josh Mannis
and Max Maslansky also reward attention. Still, the show’s surprises
are not all from the young. Marcia Hafif, the New York abstract painter
who now divides her time between the coasts, is the oldest artist here,
and she weighs in with an anomalous work: a wallsize handwritten
text about women, aging and sexuality that makes its presence felt.
Correction: August 3, 2013
An art review on Friday about “Made in Space,” at the Venus Over
Manhattan gallery and Gavin Brown’s Enterprise in Manhattan, misstated
the given name of one artist in the show and misspelled the given name of
another. They are Josh Mannis, not John, and Laeh Glenn, not Leah. The
review also omitted a coowner of Night Gallery in Los Angeles, where the
show was first seen. Besides Davida Nemeroff, the gallery is run by Mieke
Marple.
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Trump’s Lawyers Counter Mueller’s
1. Interview Offer, Seeking Narrower
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Ohio Special Election Results: 12th
3. Congressional District
5 Takeaways From Tuesday’s Election
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New York Congressman Chris Collins
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Why Did It Take So Long to See a Cast
8. Like ‘Crazy Rich Asians’?
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Magical Thinking, Artweek LA, January 12, 2012:web.
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Magical Thinking, an ambitious Magical
new exhibition features the worknew
of Los Angeles painterthe
Karen Lita Albuquerque: Spine Of The Earth
Lita Albuquerque: Spine Of The Earth
Thinking, an ambitious exhibition features workLiebowitz, Philadelphia
of Los Angeles painter Karen Liebowitz, Philadelphia
based Nancy Blum and Los Angelesbased Vanessa Conte. Runs through February 4 at Rosamund Felsen.
based Nancy Blum and Los Angelesbased Vanessa Conte. Runs through February 4 at Rosamund Three Weeks In January at L.A.Three
Felsen. Art Show
Weeks In January at L.A. Art Sh
Pacific Standard Time Performance & Public
Pacific Art Festival
Standard Time Performance & P
These three artists see Kicks Off at ALAC Opening Kicks Off at ALAC Opening
These three artists see
magical thinking as an Chris Burden: Metropolis II
magical thinking as an Chris Burden: Metropolis II
acknowledgment and Flipside: Australian
acknowledgment PhotographyFlipside: Australian Photography
and
openness to causal openness to causal
connections without a connections without
Readers' Picks of a
the Week Readers' Picks of the Week
correspondent need for correspondent need for
scientific proof. They Also In This Section Also In This Section
scientific proof. They
share in a belief in the share in a Australian
Flipside: belief in the
PhotographyFlipside: Australian Photography
interrelationship of interrelationship
Deborah Martin: of
Home On The Strange In Search Of The
Deborah Martin: Home On The Strange
those experiences that Salton
those Sea
experiences that Salton Sea
go beyond conventional go Vivian
beyond conventional
Maier: A Life Discovered Vivian Maier: A Life Discovered
observation. When the observation. When thePaintings
Feodor Voronov: Word Feodor Voronov: Word Paintings
ineffable and ineffable and
Izhar Patkin: The Dead are here Izhar Patkin: The Dead are here
ephemeral engage with ephemeral engage with
Robert Minervini: On the Nature of Things
Robert Minervini: On the Nature of Thin
the material and the material and
tangible, beauty is Rosa Loy: Convocation Rosa Loy: Convocation
tangible, beauty is
revealed to be not a Go Tell It On The Mountain
revealed to be not a Go Tell It On The Mountain
supplement to our supplement to our
experience, but a substantive source ofbut
experience, power in its own right.
a substantive source of power in its own right. Main Sections Main Sections
Karen Liebowitz’s single largescale mural – measuring
Karen Liebowitz’s 16 by 30
single largescale feet –
mural – on the wall 16
measuring of the main
by 30 gallery,
feet Calendar
– on the wall of the main gallery, Calendar
is a continuation of her ongoing series “Manifesting
is a continuation Prophecy,”
of her ongoing which
series explores Prophecy,”
“Manifesting apocalypticwhich
storiesexplores
and apocalyptic stories and
Cover Story Cover Story
animal prophecy as alternate symbologies.
animal prophecy As
as in past works,
alternate LiebowitzAs
symbologies. starts withworks,
in past an ancient religious
Liebowitz starts with an ancient religious
Reviews Reviews
literary text and from it invents a new
literary textdrama; a contemporary,
and from if not
it invents a new futuristic,
drama; myth in which
a contemporary, women
if not are myth in which women are
futuristic, Previews Previews
the main protagonists. Liebowitz frequently
the main paints Liebowitz
protagonists. the absurdfrequently
alongsidepaints
the miraculous,
the absurdtraversing
alongside the
the miraculous, traversing the
Current Current
line between skepticism and faith
line – perhaps
between as a means
skepticism of drawing
and faith our as
– perhaps attention
a meansto the divisionour
of drawing – attention to the division –
Pacific Standard Time
through female characters. through
The women in these
female reimagined
characters. mythsindepict
The women theseand enroll themyths
reimagined powerdepict
of and enroll the power of
Pacific Standard Time
earthly human intervention earthly
in orderhuman
to make the magical Artist Profiles
intervention in happen. They demonstrate
order to make both overt
the magical happen. anddemonstrate both
They overt and Artist Profiles
covert power, pointing to a covert
new female identity
power, that
pointing todisplays strength
a new female through
identity thatnurturing, and an inherent
displays strength Arts Libris
through nurturing, and an inherent Arts Libris
sexuality that heightens their empowered
sexuality nature. their empowered nature.
that heightens
Cover Story Cover Story
Clay’s Tectonic Shift: John Mason, Ken Tectonic
Clay’s Price, and Peter
Shift: John Mason, Ken
Voulkos, 1956–1968 Voulkos, 1956–1968
Featured Stories Featured Stories
Lita Albuquerque: 287 Steps Lita Albuquerque: 287 Steps
Daniel Arsham: The Fall, The Ball,Daniel
and The Wall The Fall, The Ball, and T
Arsham:
Deborah Martin: Home On The Strange
Deborah In Search
Martin: Of The
Home On The Strange
Clay’s Tectonic Shift: John Mason, Ken
Voulkos, 1956–1968
Featured Stories
Lita Albuquerque: 287 Steps
Featured Stories
Daniel Arsham: The Fall, The Ball, and T
Lita Albuquerque: 287 Steps
Deborah Martin: Home On The Strange
DanielSea
Salton Arsham: The Fall, The Ball, and
Deborah
Magical Martin: Home On The Strange
Thinking
Salton Sea
Izhar Patkin: The Dead are here
Magical Thinking
Izhar Patkin: The Dead are here
Lead Articles
Urban Origami: An Investigation of Pho
Lead Articles
Nancy Blum will present a series of very intricate new botanical drawings. These works present Taras
unabashed beauty at the same time that they subvert the traditional idea of the decorative. The complex Urban
Neil Origami: An Investigation of Pho
Nagy
Nancy
and Blum will
fantastical present
flowers a series
appear of the
to be verymasters
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own universe, Thesetoworks
seeming present
possess authority Taras
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and freedom.beauty at theline
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andtime that
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subtly the traditional
mathematical way,idea of the
so the decorative.
effect The complex
is hallucinatory, yet Neil Nagy
and fantastical flowers appear to be the masters of their own universe, seeming to possess authority Issues
the nuanced patterns point to a sense that each move has an accompaniment or echo. Nancy Blum
andexhibited
has freedom.widely
Blum uses line and
throughout theform in aStates
United subtly and
mathematical way,
has created so the effect
numerous publicisworks
hallucinatory,
includingyet
in November 30, 2015
Issues
the nuanced
San patterns
Francisco, point
Charlotte, andto Seattle.
a senseShethat holds
each move has an
a BA from theaccompaniment or echo.
University of Michigan Nancy
and Blum
an MFA from September 28, 2015
has exhibited
Cranbrook widely throughout the United States and has created numerous public works including in
Academy. November 30, 2015
September 7, 2015
San Francisco, Charlotte, and Seattle. She holds a BA from the University of Michigan and an MFA from September 28, 2015
August 10, 2015
Cranbrook Academy. September 7, 2015
July 13, 2015
August 10, 2015
July 13, 2015
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Vanessa Conte’s paintings tend to describe nature as both recognizable and haphazard. What reads as
stylistic significance doubles as a stain, or an incidental gesture. Conte utilizes nonsystematic and
Vanessa
varied Conte’s paintings
compositional tend to
conventions todescribe nature as
make paintings thatboth
are recognizable andtherefore
associative and haphazard. Whatinreads as
steeped
stylistic significance
memory doubles
and reflection. asexhibition,
For this a stain, orConte
an incidental
will showgesture. Conte utilizes
three panoramic nonsystematic
landscapes and of
and a cluster
varied compositional conventions to make paintings that are associative and therefore
four portraits. Vanessa Conte has had solo exhibitions at JB Jurve in Los Angeles and Daniela steeped in
memory and reflection.
Steinfeld/Van For this exhibition,
Horn in Düsseldorf. She holdsConte will show
a BS from NYU three panoramic
and an MFA fromlandscapes
UCLA. and a cluster of
four portraits. Vanessa Conte has had solo exhibitions at JB Jurve in Los Angeles and Daniela
Steinfeld/Van Horn in Düsseldorf. She holds a BS from NYU and an MFA from UCLA.
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Lita Albuquerque: 287 Steps
287 Steps opens on January 21, the night before Albuquerque's large scale ephemeral work Spine of
the Earth
Lita 2012, and will287
Albuquerque: be on view through February 25 at Craig Krull Gallery.
Steps
287 Steps opens on January 21, the night before Albuquerque's large scale ephemeral work Spine of
the Earth 2012, and will be on view through February 25 at Craig Krull Gallery.
Daniel Arsham: The Fall, The Ball, and The Wall
Arsham illustrates the artist’s continued interest in manipulating architecture and in challenging
expectations of accepted
Daniel Arsham: realities.
The Fall, TheOpens January
Ball, and The20 at OHWOW.
Wall
Arsham illustrates the artist’s continued interest in manipulating architecture and in challenging
expectations of accepted realities. Opens January 20 at OHWOW.
Deborah Martin: Home On The Strange In Search Of The Salton Sea
Based on Polaroids taken over a period of four years, Home on the Strange: In Search of the Salton
Sea depictsMartin:
Deborah various aspects
Home On of the reality
The of life on
Strange theSearch
In Salton Sea. Through
Of The February
Salton Sea 11 at George
Billis
Based Gallery.
on Polaroids taken over a period of four years, Home on the Strange: In Search of the Salton
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