Pentimenti – italian term, from the word meaning ‘repent’; refers to the lines or marks which remain after an artist corrects his/her drawing.
As the making of my work became quite performative it also became apparent that once the paintings were finished all that remained was a static object in which the process of the image’s creation was lost. Looking at the work of William Kentridge and early David Lynch films or ‘moving paintings’ such as ‘Six men getting sick (six times)’ as well as the animation sequence from ‘The Alphabet’ I became interested in the possibility of creating some animation pieces derived from the processes I had been using to make earlier paintings. Nevertheless I decided upon producing these animations via large scale charcoal drawings rather than recreating the previous ink works, mainly due to the fact that I found charcoal to be the most versatile and accommodating medium to create multiple drawings within essentially the same drawing.
The intention to layer drawings directly on top of each other as well as merging each drawing into the next echoed the anticipation for the work to exist as a documentation of the formation of the drawing itself. The remains and fragments of earlier drawings could then exist alongside more recent imagery allowing the drawing to become a work within itself as well as a series of traces mapping past movements and processes. Photographing each stage of these drawings, the traces of my movement and their creation, I had begun simultaneously producing a body of work consisting of drawings which could co-exist beside the ensuing animation pieces documenting their formation. The work had at this point developed into a unique history of the drawings’ coming into being and immediate erasure.
James Kalm returns with viewers to take a more concentrated look at Martin Kippenberger’s estimable legacy as a painter. Receiving his first recognition in the late seventies as a painter and draftsman and despite the various projects and installations he engineered, Kippenberger maintained a consistent practice as a painter. This exhibition chronicles his graphic versatility as well as his masterful facility with the medium. These talents were incorporated in Kippengergers provocative challenge to the status quo and the art world establishment. Features an interview with Ann Goldstein, Senior Curator, The Museum of Contemporary Art (MOCA).
One of the most provocative and successful artists of his generation, John Currin makes delightfully bad, perverse paintings which enchant and repel in equal measure. His art, which constantly evades categorization, pinpoints the moment where sublime beauty and the grotesque are held in productive tension. An irreverent mannerist who brings a satirical savvy to contemporary portraiture, Currin has been confounding and seducing critics and audiences for over two decades. His work is characterized by a meticulous, masterly technique and an unfashionable investment in classical painting traditions commingling with other representational languages drawn from popular culture, including movies, pinups and 70’s Scandinavian porn.