OPENING: Friday, October 3rd from 6-9pm LANCE DE LOS REYES
Standing on the Shoulders of Giants
October 3 – November 2, 2014
OPENING: Friday, October 3rd from 6-9PM
The Hole is proud to present the debut solo exhibition by Lance De Los Reyes. The exhibition will feature thirteen large oil paintings and an installation across the main galleries.
De Los Reyes will debut thirteen new oil paintings on drop cloths and canvasses mounted to stretched raw canvas. In the studio, De Los Reyes works on the floor or with the tarp pinned directly to the wall, hence the works here are presented like skins or pelts tacked up onto a canvas. The surfaces are heavily distressed, the paints often smeared with hands and fingers wiped off along the edges, footprints and debris crisscross the area. In this way the works are part of a dynamic lived process as opposed to an easel painting approach; they take shape with immediacy and fervor, and the imperfections are not contrived niceties but real record of the path of the painter creating from his imagination.
De Los Reyes is a believer, for what it’s worth, and believes that painting can communicate sacred truths, powerful ideas or important complexities. The artworks feature symbolic imagery, inventive forms, color patterns derived from alchemical tables and beliefs. Many works feature archetypes or concepts that have a pan-global mythological inspiration and take from many archaic belief systems to imbue meaning. Like Julian Schnabel he believes in man, myth and magic in painting and has the power, energy and almost manic intensity to create with similar ambition. Though an emerging artist, he is unafraid to try to “stand on the shoulders of giants” to stretch himself to new heights.
Lance De Los Reyes was born in Texas and studied painting, performance, sculpture and video at the San Francisco Art Institute. After moving to New York City he assisted artist Donald Baechler and has exhibited with The Journal Gallery and Peter Makebish.
Cover photo: Water Over Oil, 2014 Oil on canvas, 81 x 67 inches, courtesy the artist and The Hole NYC
Remain in Light
October 3 – November 2, 2014
OPENING: Friday, October 3rd from 6-9pm
The Hole is proud to present the first US solo exhibition by Danish artist Rose Eken. For the exhibition Eken will exhibit a forensic assortment of hand-painted ceramics arranged by size on the floor of Gallery 3 and three large tapestries on the walls. The sculptures will include all the objects one might find in a punk venue, perhaps even our former across-the-street neighbor here on the Bowery, CBGBs. From microphone stands all the way down to tiny bottle caps and guitar pics, these handmade and hand-painted objects will create a personalized memorial to NYC’s dwindling lawless zones and the mayhem they contained. Their anthropological arrangement on the floor suggests a methodical and scientific approach to categorizing and analyzing a lost culture, as though a forensic dig of the venue unearthed these strange relics.
September 11 – 27, 2014
The Hole is proud to present the exhibition and performance series Future Feminism. Created by Antony, Kembra Pfahler, Johanna Constantine, Bianca Casady and Sierra Casady, Future Feminism will feature an exhibition of stoneworks in the main gallery and a thirteen-night performance and lecture series in Gallery 3. In this exhibition, they will debut the 13 Tenets of Future Feminism, a manifesto the artists and musicians have honed over the past three years from numerous retreats and meetings representing a frontier feminist perspective.
Each of the 13 nights, one of the 13 Tenets will be activated by the Future Feminists and their collaborators. Performances begin at 8pm, doors at 7:45pm, and all events are open to the public on a first come first serve basis. The auditorium comfortably seats 100 guests. All other visitors are welcome to enjoy the performances / lectures in the main gallery space via audio and video projection. Suggested donation: $10. If you are interested in attending the entire series, 10 limited seats are available for advanced purchase – please contact Krysta at The Hole for details. The opening reception is free.
Thursday, September 11: Opening 6-9PM
Friday, September 12: Bianca Casady, Sierra Casady, Rebecca Wright
Saturday, September 13: Johanna Constantine, Lydia Lunch
Sunday, September 14: The Factress aka Lucy Sexton, Clark Render as Margaret Thatcher, Laurie Anderson
Wednesday, September 17: Narcissister, Dynasty Handbag, No Bra
Thursday, September 18: Ann Snitow speaks with the Future Feminists
Friday, September 19: Kiki Smith presents Anne Waldman, Mei-Mei Berssenbrugge and Anne Carson
Saturday, September 20: Kembra Pfahler and The Girls of Karen Black
Sunday, September 21: Lorraine O’Grady
Wednesday, September 24: Marina Abramović
Thursday, September 25: ***Presentations by Jessica Mitrani and Melanie Bonajo, featuring a film by Carolee Schneemann
Friday, September 26: Terence Koh as Miss OO
Saturday, September 27: Viva Ruiz, Julianna Huxtable, Alexyss K. Tylor
Exhibition hours: Wednesday through Sunday, 12-6pm
Doors open 7:45pm / Performance Begins 8 pm
Suggested Donation of $10
More information on the artists:
Comprised of Sierra and Bianca Casady, CocoRosie recently premiered their collaboration of Bob Wilson’s Peter Pan in Paris and Berlin and completed a world tour in support their album Tales of a Grasswidow. “Sounding “like two little Billie Holidays an octave higher if you were on acid in Tokyo in 1926” - Jim Jarmusch
Antony - is a singer and visual artist. Antony and the Johnsons just returned from Madrid performing 4 nights at Teatro Real with Orquesta Titular del Teatro Real presenting the final incarnation of Swanlights originally commissioned by MoMA and performed at Radio City Music Hall in Jan of 2012. As a visual artist, he is represented by Sikkema Jenkins Gallery in NYC where he is currently in a group show entitled Works on Paper (Sep. 2nd-Oct. 4th).
Kembra Pfahler - Kembra Pfahler is a Hole artist and has done many projects with the gallery since its inception. She founded The Voluptuous Horror of Karen Black and is currently working on a performance technique with students called Performance Art 101. Her last show at The Hole was Giverny with E.V.Day, where she turned he gallery into a replica of Claude Monet’s garden in Giverny, France.
Johanna Constantine - Johanna Constantine is a dance based performance artist who recently danced at The Tate Modern in London in an exhibition by Charles Atlas.
These 5 artists (Antony, Kembra, Johanna, Bianca & Sierra Casady) have developed a series of vivid tenets for FUTURE FEMINISM during 3 years of intensive retreats. Collectively, they represent a frontier feminist point of view. FUTURE FEMINISM is a call to arms to reorganize ourselves as a species and affirm archetypally feminine values.
Tenet 1: The subjugation of women and the earth is one in the same.
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East Hampton, NY: Eric Firestone Gallery and The Hole are pleased to announce Storage Wars the first collaboration between the New York galleries.
Storage Wars examines the fundamental reality that much contemporary art resides in a crate or wrapped in plastic. Aside from the relatively brief period of its presentation in a white gallery, the lifespan of the artwork is dominated by languishing in storage between exhibitions. Galleries, and increasingly collectors, have extensive storage spaces packed with artworks. In an effort to reveal the previously unseen or briefly seen artworks in our inventories, Eric Firestone Gallery and The Hole will present a selection of this cache “as is.” The gallery will be stacked with crates opened to reveal their previously secreted away contents.
Visiting Storage Wars will be like getting a private tour of the galleries’ storages. It will include new works just arrived from overseas that will get to breathe for the first time alongside works perhaps forgotten in the galleries’ archive and pulled out for a fresh start, underground artists, chance secondary market works and a few surprises.
Relational aesthetics dictates awareness of the socio-cultural forces that inform one’s experience of art, this show intentionally exposes the art as objects whose lives dictate that they must be wrapped, crated, shipped and stored prior to exhibition then often sent right back into storage. If a gallery is a white box, where for a brief moment artworks are liberated from the confines of wooden crates to be shown for a month or so only to be packed away again, we seek to highlight this moment in the spotlight by literalizing the exchange of goods from within the exhibition space itself. At the same time, the beauty of the artworks will transcend this raw un-filtered presentation; the works appear as objects whose potential beckons, full of excitement to be liberated from their crates and resume their lives on walls beneath the admiring gaze of viewers.
Some artists on view from Eric Firestone Gallery include Sanford Biggers, Eric Freeman, Max Snow and Eric White. The Hole’s list features Kadar Brock, JIM JOE, Evan Robarts, Holton Rower, and many more.
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4 NEWTOWN LANE
EAST HAMPTON, NY 11937
July 10 – August 23, 2014
OPENING: Thursday July 10th, 2014 from 6-9PM
Timothy Uriah Steele
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 Adam Henry and 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.
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.
For more information on each artist, images or press inquiries please contact Krysta@theholenyc.com
Cover image by Zane Lewis, Untitled (Atmosphere I), 2014]]>
July 10 – August 23, 2014
OPENING: Thursday July 10th, 6-9pm
The Hole is proud to present an exhibition in Gallery 3 by infamous Canadian artist and filmmaker Bruce LaBruce that will include the debut of his fragrance, Obscenity. In an exhibition of photography examining sexual and religious ecstasy as well as the unveiling of his fragrance, this will be his first solo gallery exhibition in America since 2010’s “Untitled Hardcore Zombie Project” at Peres Projects, Los Angeles.
In LaBruce’s own words:
Obscene (adj.) 1590s, “offensive to the senses, or to taste and refinement,” from Middle French obscène (16c.), from Latin obscenus “offensive,” especially to modesty, originally “boding ill, inauspicious,” of unknown origin; perhaps from ob “onto” (see ob-) + caenum “filth.”
What is obscenity? For me, the word may have a different connotation than the one affixed to it by genteel society. Over the years, when my films and photographs have been returned to me after exhibitions in international festivals or galleries, Canadian customs officials have frequently seized the works at the border and sent me a notification in their stead with the word OBSCENITY writ large, an X luridly slashed in a box beside it. To me, it has become a badge of honour. For one man’s obscenity is another man’s art. Or romance. Or sensibility. Or scent.
Staring at OBSCENITY, eventually I came to realize that the word SCENT is contained with in it. And thus came the first inspiration to develop a fragrance of the same name. A fragrance in flagrant disregard of the pejorative insinuation attributed to the word. In flagrante delicto: caught in the very act of committing a misdeed or offense. In fragrance delicto!
Exhibiting a collection of my photographs in Madrid 2012 at La Fresh Gallery–photographs that examined the delicate intersection between religious and sexual ecstasy–I first recuperated the word Obscenity as something sensual, erotic, and beyond the judgment of society or religion. Against storms of protest, the word for me transgressed its etymological origin as something offensive or filthy and became something transcendent: something mysterious, martyred, and carnal. Carnal knowledge is power.
What does obscenity smell like? To explore this question, I had to consult an expert. Enter Kim Weisswange, perfumer extraordinaire. Meeting the formidable woman in the flesh in Hamburg, I explained to her my history with obscenity, and the feelings the word invokes in me. The synthesis of the religious or the spiritual and the sexual is a potent one, and requires a potent fragrance. I left this special olfactory alchemy to the expert.
What does obscenity look like? For the bottle cap and design, I collaborated with my favourite jewelry designer, Jonathan Johnson, who had already made an Obscenity ring for me in conjunction with my photo exhibition. Mr. Johnson has an uncanny way of interpreting sexual and religious imagery to make them seem interchangeable, one and the same. Far from blasphemy, the “nun-sploitation” cap, mapped from a 3-D scan of the curvaceous body of his fiancé and muse Katja-Inga Baldowski, then perched on the hostia, the holy wafer placed lovingly on a tongue, is intended as a sincere tribute to the sensual throes of ecstasy that cause you to throw your head back and fix your gaze toward heaven, a gesture generally reserved for fervid prayer or orgasm.
This is the essence of Obscenity.
TMAGAZINE – NEW YORK TIMES
For inquiries, or to purchase Bruce la Bruce, limited edition Obscenity Parfum, please contact email@example.com