Post-Analog Painting

Post-Analog Painting

Trudy Benson

Mariah Dekkenga

Robert Otto Epstein

Mark Flood

Jeanette Hayes

Adam Henry

KATSU

Misaki Kawai

Jonathan Lasker

Rachel Lord

Michael Manning

Neil Raitt

Josh Reames

Joe Reihsen

Nathan Ritterpusch

Michael Staniak

Matthew Stone

Rebecca Ward
April 12 – May 24, 2015

OPENING: Sunday April 12, 4-7 pm

 

The Hole is proud to announce a group show of digitally-minded painting including both emerging and established artists working in a “post-analog” mode.

The long and complex shift in culture from analog media to digital media is the most significant transformation of our generation, and it has long-reaching and manifold effects that continue to permeate all modes of visual expression. In painting the effects have been slow to reverberate. “Inkjet on canvas” was the center of these discussions for many years; however, after Roberta Smith deemed the Wade Guyton show at the Whitney acceptable, everyone could chill out about whether paintings were composed in a computer and printed out or whether an actual paintbrush was wielded.

But the more interesting shift in painting has nothing to do with the media used but instead the forms, composition and content in painting. Digital tools have affected our imaginary, the logic of Photoshop or pixelation shapes a painter’s approach to color, form, depth, shade, tone, volume; all the parameters that guide the application of paint to canvas. When Trudy Benson paints a circle, it’s the specific kind of sloppy shape a hand and mouse draws, not the shape a hand holding a brush would make.

Content of paintings has been affected (in this show: Angry Birds, Anime and pizza) as well as meaning, as the viewer takes in the work or communicates the work. If the painting gets a like, you might snap a photo before you move on; an Instagrammable image has a leg up in the market, a high-contrast composition with punched up colors that looks good at 72dpi will get re-blogged more often, and the push and pull between what inspires the work and how it is shared cycles onward as content, meaning, approach and reproduction accelerate.

“Post-Analog” is meant so suggest that the paintings in this show were not even conceivable before digital imaging changed the structure of our images. Sure, we erased things, but not the way the “erase tool” erases. Items at shallow depth leave shadows but not the standardized way a drop-shadow filter does. Focus and resolution exist in emulsion photography but the way that paint is applied in this show has more in common with low-res JPEGS and pixels-per-inch.

Peter Halley postulated that texture in painting would be what saves analog painting from screenic culture; an insistence on the physical object that must be seen with an eyeball in person; but what if we can 3D-print the thick brushwork and impastoed surface that makes paint-lovers sigh? Airbrush and spray are frequent tools of digitally-minded painters so that their IRL creations can have the feeling of a computer gradient or a glowing laptop screen.

The topic of how digital imaging has changed the way young artists approach painting is too broad to tackle here but in the exhibition, some of the most interesting changes are the most subtle. Jonathan Lasker’s small oil and pigment on paper work poses an interesting puzzle; graduating from CalArts in 1977, this pioneering abstract artist’s career has completely spanned the analog to digital shift, though his work has not changed drastically. To me, his kind of pictorally-suggestive abstraction features “units of painting” in a way that perhaps recapitulates the units of data that make up all images today.

Email krysta@theholenyc.com for more information

cover image: Josh Reames, Face, 2015 45 x 55 inches

 

Trudy Benson, “Movement in Stripes”, 2015, Acrylic and oil on canvas, 43 x 47 inches, 109.2 x 119.4 cm

Robert Otto Epstein, “Baseball Card No. 3”, 2014, Acrylic on hand gridded wood panel, 14 x 11 x 1.5 inches, 35.6 x 27.9 x 3.8 cm

Mark Flood, “The Grayson Flag”, 2015, Inkjet print on canvas, 102 x 102 inches, 259.1 x 259.1 cm

Jeanette Hayes, “From the DeMooning series (Sailor Mars)”, 2015, Oil on canvas on panel with wood frame, 60.5 x 50.5 inches, 153.7 x 128.3 cm

Jeanette Hayes, “From the DeMooning series (Sailor Moon with Crystal)”, 2015, Oil on canvas on panel with wood frame, 60.5 x 50.5 inches, 153.7 x 128.3 cm

Adam Henry, “Untitled”, 2015, Synthetic polymers on linen, 67 x 30 inches, 170.2 x 76.2 cm

KATSU, “Large Pepperoni Consciousness”, 2015, Oil on canvas, 30 inches diameter, 76.2 cm diameter

Misaki Kawai, “Nice Shot”, 2015, Acrylic on canvas, 80 x 60 inches, 203.2 x 152.4 cm

Jonathan Lasker, “UNTITLED”, 2008, Oil and pigment pen on paper, 18 x 14 inches, 45.7 x 35.6 cm

Rachel Lord, “Crashing Waves (with Matilda)”, 2012, Oil and nailpolish on board, 16 x 12 inches, 40.6 x 30.5 cm

Rachel Lord, “Mountain Meadow (with Red Wizard and Ice Cube Bird)”, 2014, Oil and enamel on panel, 24 x 19 x 1.5 inches, 61 x 48.3 x 3.8 cm

Michael Manning, Girl Scout Cookies OG, 2015, 3D Print on Primed Linen, 20 x 16 inches, 50.8 x 40.6 cm

Neil Raitt,  “Alpine (Scream Green)”, 2015, Oil on canvas 55.12 x 39.37 inches, 140 x 100 cm

Josh Reames, “Good Girl Gone Bad”, 2015, Acrylic on canvas, 90 x 78 inches, 228.6 x 198.1 cm

Joe Reihsen, “Like Your Life Depends On It, Because It Does”, 2015, Acrylic on panel, aluminum frame, 60 x 47 inches, 152.4 x 119.4 cm

Nathan Ritterpusch, “Brownies with Bridget Riley’s Current and Abstract Shapes”, 2015, Oil on canvas, 60 x 48 inches, 152.4 x 121.9 cm

Nathan Ritterpusch, “Pool Boy”, 2015, Oil on canvas, 72 x 60 inches, 182.9 x 152.4 cm

Nathan Ritterpusch, “You Make Me Sick”, 2012, Oil on canvas, 30 x 20.25 inches, 76.2 x 51.4 cm

Michael Staniak, “Untitled”, 2014, Acrylic and casting compound on board, 24 x 18 inches each, 61 x 45.7 cm each

Matthew Stone, “Dance Instruction”, 2015, Digital print and acrylic on linen, 60 x 48 inches, 152.4 x 121.9 cm

Matthew Stone, “Lower Energy Source”, 2015, Digital print and acrylic on linen, 60 x 48 inches, 152.4 x 121.9 cm

Rebecca Ward, “X (cream and pink)”, 2014, Oil and dye on silk, 60 x 45 inches, 152.4 x 114.3 cm

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