"Go With The Flow" opens July 10th at The Hole

Added on by Evan Gruzis.

Go With the Flow
A group show of atomized paint

July 10 - August 23, 2014

The Hole

312 Bowery, NY 10012

OPENING: Thursday, July 10th from 6-9PM

Adam Henry
Austin Lee
Brian Belott
David Ostrowski
Dennis Hoekstra
Eric Cahan
Evan Gruzis
Greg Bogin
Jesse Edwards
Jessica Ciocci
Keltie Ferris
Michael Dotson
Michael Staniak
Rosson Crow
Timothy Uriah Steele
Trudy Benson
Wendy White
Zane Lewis

The Hole is proud to present our summer exhibition in the main galleries, Go With The Flow, looking at the diverse and contemporary uses of sprayed paint. From aerosol to airbrush and further into the field of atomized paint, these artworks range from the slickly gradiented to the more surreptitiously sprayed, with a lot of flying paint in between.
Atomizing paint is an approach often associated with the automotive world, industrial painting and products, even down to the boardwalk airbrush tee. The history of contemporary artists using spray is more limited; Surrealists explored the nascent technology, Kandinsky, too; and really not too much else went on in sprayed painting besides a 60s L.A. airbrush movement or Jules Olitski until the slick fabrication art of the 90s upsurge in industrial painting techniques. After digital technology made the world of images screenic and pixelated, gradients reappeared in painting as a mainly digital aesthetic with compressors the easiest way to achieve them in painting.
Simultaneous to all this, of course, the 70s and 80s birthed graffiti culture, the single most impactful global image movement, and the world's cities have been covered in spray ever since. Besides the often-embarrassing graffiti art in galleries, this aesthetic mostly influenced painting from afar, with artists like Sterling Ruby borrowing the tools and vibe, or Barry McGee conceptually tackling the culture head-on with his animatronic tagger sculptures and huge fill-ins on museum facades.
But the commercial and the graffiti are not the only two angles from which to approach sprayed paint and this exhibition looks at the diversity of uses it has for contemporary artists now. Since Tauba Auerbach turned her Deitch Projects Williamsburg studio into a spray booth back in 2009, the number of emerging artists I have visited whose studio was prophylactically plastic-ed over for atomized paint is staggering. The impulses to spray are manifold:

Artists like Greg Bogin, Michael Staniak, Evan Gruzis, Eric Cahan or more emerging painters Timothy Steele or Zane Lewis favour the perfect color gradients possible only with spray. Getting the seamless tonal shift of a sunset across an artwork is the magic realm of sprayed paint where the eye can settle on no demarcation of color and moves over the surface with nothing to hold onto. Alien looking and anti-eyeball, sprayed gradients are the realm of the void--a non-space--and evocatively so.
Artists like David Ostrowski, Adam Henry or Keltie Ferris use spray in a chunkier or more literal way to examine the properties possible in the hovering of color through atomization. Ferris creates depths and fogs in her paintings while Henry creates autonomous geometries hovering on a fresco-like white background. David Ostrowski’s painting is the most simple and rudimentary green spray sitting somehow both boldly and meekly on a big white expanse.
Trudy Benson includes a painting that has both sprayed elements and painted elements in the shape of the Photoshop “spray tool” looking at what the semiotics of spray includes and how a computer suggests it. Austin Lee’s work remains almost entirely in the realm of the computer-generated image aesthetic--though all his paintings are handmade with airbrush--and the figures and settings are cartoonishly left-handed and humorously maladroit.
Michael Dotson or Rosson Crow, Brian Belott or Wendy White use spray in works that are representational to selected and specific ends. Dotson uses spray in a digital way as a “gradient fill” where areas of the composition get a blast of color gradient to make a very screenic looking painting. Crow uses spray around her oil paintings of haunted-looking historical interiors to create a dreamlike atmosphere of hovering walls and furniture. Wendy White and Brian Belott here include sprayed and non-sprayed elements (a sweat sock, a photographic print, mirrored plexi) collaged together in hybrid compositions that perhaps ground the ethereality of spray in something tangible and recognizable.
JIMJOE, KATSU and Jesse Edwards come out of public street spraying culture but make works that are not graffiti but tangentially relate: JIMJOE’s painting features the tail end and the barely beginning of two well-known graffiti writers’ "fill-ins", KATSU figured out how to program drones to carry spray cans and spray remotely: something very threatening to law enforcement but here in the realm of painting explores instead the technological mediation of painting. Edwards contributes an airbrushed ceramic television of semi-blurred-out Disney figures, emphasizing the rebirth of spray being tied crucially to our screenic culture.
Jessica Ciocci’s multi-panel piece emphasizes the DIY and handmade aspect of spray through the repetitive stencil compositions, highlighting how a can of spray paint puts rapid color in the hands of everyone and is a powerful and democratic tool. Dennis Hoekstra exhibits a multi-panel painting where, using spray and other secret faux-finishing techniques, he can recreate the distressed and diverse surfaces of the streets on canvas.

May 9th - 11th: NADA NY with DUVE Berlin

Added on by Evan Gruzis.

DUVE Berlin at NADA New York

presenting Evan Gruzis, Halina Kliem, Roman Liška and Chris Succo

Booth #705

opening preview (by invitation)

Friday May 9, 10am-2pm

open to the public (free access)

Friday May 9, 2-7pm

Saturday May 10, 11am-7pm

Sunday May 11, 11am-5pm


Pier 36 - Basketball City

299 South St, New York, NY

SILVIER opens April 23rd at SuperDakota

Added on by Evan Gruzis.

Super Dakota is delighted to announce its next exhibition Silvier.
The title Silvier comes from the James Joyce's poem "Schevingen, 1927". It's the idea of struggle and resolution being a constant part of the artistic process. Each piece is the result of finding a balance between positive and negative space, passivity and action. It is through the artists' guidance that each composition emerges with the imprint of these adaptations, each painting achieves its own individual equilibrium, which is discovered through its formation.

Including works by Christian Vetter, Evan Gruzis and Manor Grunewald.

Exhibition from 24.04.14 until the 31.05.14
Vernissage April 23rd from 18:00 to 22:00
Open during Art Brussels on Friday night April 25th from 18:00 to 22:00 and Sunday April 27th from 11:00 to 18:00

Super Dakota
45, rue Washingtonstraat, 1050 Brussels
Open Tues-Sat
11:00 - 18:00
General informations: contact@superdakota.com
Inquiry available works: damien@superdakota.com

Shell Game - Opening April 6th at The Suburban

Added on by Evan Gruzis.

The Suburban Presents:

Opening BBQ: Sunday, April 6, 2014, 2-4 pm
The Suburban
125 N. Harvey Av
Oak Park, IL 60302
The Suburban, now in its 15th year is delighted to announce that Seth Hunter will be repairing the damaged freestanding concrete block gallery as an artwork. Hunter’s colleague Bradley Carter writes: “For the artist, this is a work of affirmation, not of critique. Eliminating the evidence of trauma sustained by the structure is an act of erasure at its most positive: faithfully reinforcing the program of the gallery.”
The Suburban’s second gallery will be hosting an exhibition titled "Shell Game," a suite of new works by Evan Gruzis that blend humor with abstraction and process-centric painting.  As the title suggests; transience, hollowness, and sleight-of-hand, are the dominant themes of the work. Here he is furthering this investigation by combining textile-dye techniques with painted depictions of frames and borders, faux finishes with readymade artifacts and pattern with chaos.  The deliberate yet generic repetition in his work points to a meditative objective while prodding: Which shell is it under?
Starting in the summer of 2014, Milwaukee’s Green Gallery will begin programming projects and exhibitions in The Suburban’s third gallery in Oak Park. In recognition of this, The Suburban invited artist and Green Gallery director John Riepenhoff and artist Richard Galling to exhibit their paintings. In this exhibition, Galling’s paintings become “a screen or a filter for what is behind or below as much as John's painting becomes a backdrop for the staging that is happening up in front - which is a kind of posing… I think there are these different levels and ways in which the objects are acting in relation to one another…” Riepenhoff writes of his plein-aire paintings: “I'm actually mapping out what I see of the night sky… an attempt to create an object that's equal to the depth of the subject. There's something that is added to the object through the creation process, I am not just trying to copy the likeness of something.”


X-tra Volume 16, number 3 SPRING 2014
LEF(t) Publications Standard Edition is a broadsheet publication printed in limited quantities and available free at new distribution points (globally). Each LEF(t) is themed and consists of a visual project and three text projects.

Now Available - SWOOP 🏄

Added on by Evan Gruzis.

Collaborator Richard Galling and I recently produced a track for DJ Kaos (Berlin).  The 12" is now available on the Jolly Jams label.  The B side includes a dubby refix by Lexx and a club edit. 


On View: COMBUSTION, curated by Yann Chateigné

Added on by Evan Gruzis.

Galerie SAKS

24.01.2014 - 15.03.2014

Maria Thereza Alves & Jimmie Durham, Josse Bailly, Thomas Bonny, Le Dispositif, G.-E. Debord, Tacita Dean, J. P. Donleavy, After Marcel Duchamp, Marguerite Duras, Christian Gonzenbach, Evan Gruzis, Simon Haenni, Arvo Leo, Vincent de Roguin, Julie Sas, W. G. Sebald, Marianne Vitale

Une exposition de Yann Chateigné.

"Notre propagation sur terre passe par la carbonisation des espèces végétales supérieures et, d’une manière générale, par l’incessante combustion de toutes substances combustibles. De la première lampe-tempête jusqu’aux réverbères du XVIIIe siècle, et de la lueur des réverbères jusqu’au blême éclat des lampadaires qui éclairent les autoroutes belges, tout est combustion, et la combustion est le principe intime de tout objet fabriqué par nous. La confection d’un hameçon, la fabrication d’une tasse de porcelaine et la production d’une émission de télévision reposent au bout du compte sur le même processus de combustion. Les machines conçues par nous ont, comme nos corps et comme notre nostalgie, un cœur qui se consume lentement." -- W.G. Sebald

Yann Chateigné est critique et curateur. Depuis 2009, il est responsable du Département Arts visuels de la Haute école d’art et de design de Genève. Parmi ses expositions récentes, on peut citer Seismology (Palais de Tokyo, Paris, 2012), Le rideau des rêves (IAC, Villeurbanne, 2011), Fun Palace (Centre Pompidou, Paris, 2010). Il a publié dans divers ouvrages collectifs et catalogues, ainsi que dans Artforum, Frieze, Kaleidoscope, Art in America, Artpress et Criticism. Il est diplômé de l'Ecole du Louvre à Paris. Inspirée d'un texte de W.G. Sebald, Combustion conclut une trilogie entamée avec Panegyric (Forde, Genève, 2012), d'après Guy Debord et La vie matérielle (Fondation Ricard, Paris, 2013), d'après Marguerite Duras.