On the Floor in the Cave of Skulls
April 9 – May 14, 2016
Opening reception April 9, 7-10pm
Opening November 14, 7pm to 10pm
November 14, 2015 – January 30, 2016
The Apotheosis of Washington
Opening September 12, 7pm to 10pm
September 12 – October 31 2015
This is new art, but it stretches deep into time. New skin for an old ceremony.
In conversation, it’s possible I might say this art is grotesque. Other introductions might include:
repugnant, incongruous, bizarre
irrational, unnatural, brutal
intoxicated and confrontational
as well as erotic, fantastic, and fetishistic
It is not art for art’s sake. It is art that is very much involved. It marks a constant struggle to belong together. It is often an art of social protest.
One might think that this kind of work is no more than whim and fantasy. Others may find this work an answer to the riddle of art itself.
We will have a couple chances to talk about this, perhaps at the opening on July 18 or during the evening program on July 22.
Perhaps the best introduction to the artists and their work is the following …
Barry Doupé, lives and works in Vancouver
Excerpts from an animation that undoes the relationship between a boss and employee, so that we can speak about art, language and expression
Alex Morrison, lives and works between Brussels and Vancouver
A drawing and sculpture about the vanity of small differences between your own taste and others
Lucy Stein, lives and works in Cornwall
A new series of paintings from her bucolic sea–side studio; Druid, Limpid Cunt Lips… and Polly Tunnel, all 2015
Julia Feyrer lives and works in Vancouver
Body Art costumes and props for a chorus of Sick Muses, as plans towards a forthcoming play
Sung-Chih Chen lives and works in Taipei
A sculpture of deformed components scattered on the floor, read as a script for your own balance
Walter Scott lives and works in Toronto
Comics starring an avatar named Wendy; a girl in the art world caught between bourgeois ambitions and working-class malaise
Tiziana La Melia lives and works in Vancouver
Ten paintings on aluminum shapes that resemble the details of old Italian plates
Dick Jewell lives and works in London
A film and photo-collage shot at Kinky Gerlinky, between 1990 and 1993—like Fellini’s Satyricon set to House music
Twilight of the Idols
8 pm | July 22, 2015
An evening of events by some artists in the exhibition
-A short story read by Tiziana La Melia
-Another film by Dick Jewel—Rave+Breaks, 1992
-A script reading by Julia Feyrer and company
-A performance by Lucy Stein with music by Chiara Giovando
Stopping the Sun in Its Course
Sung-Chih Chen, Barry Doupé, Julia Feyrer, Dick Jewell
Tiziana La Melia, Alex Morrison, Walter Scott, Lucy Stein
An exhibition curated by Jesse McKee
Opening Reception, Saturday July 18th, 7 to 10pm
Evening Program, July 22, 8 to 10pm
July 18 – August 22 2015
(Image credit on home page : Dick Jewell, Space and Leigh GIF from ‘Kinky Gerlinky’, 2002. 101 minutes, video tape transferred to digital video.)
at Ghebaly Gallery
Opening Saturday April 25, 7-10pm
Splash, Glow, Fullflex at the Bikini Factory
organized by Public Fiction
Opening Sunday May 24, 7-10pm
Closes July 30 2015
(or by appointment)
April 25 – June 6 2015
Anthony Lepore’s third solo presentation with the gallery features new work created in his father’s bikini factory.
Lepore’s grandfather built the factory in 1971, and two years ago the artist’s father rearranged several rows of obsolete sewing machines to make room for a studio.
Surrounded by the droning hum of machines, punctuated by the babbling conversation and laughter of the seamstresses, Lepore creates these photographic works in a space that continuously flexes between the mundane and the whimsical. Lepore pinpoints moments emblematic of this dynamic—an unintentionally suggestive handle for a cardboard box made from the same bikini straps the box contains, the apparition of a gold-striped mirage in a puddle of mop-water. Circumventing digital manipulation, Lepore’s working methods mirror the analog production that has continued unchanged in the sewing factory since the 1970’s.
Many of these works explore the enigmatic qualities of spandex, in photographs that Lepore composes with the excess material also being used by the other workers in the factory around him. Stretching a few feet of fabric in a picture frame—equivalent to the amount used to make a single bikini—Lepore stages intimate interactions between the fabric and the stuff of the workplace. Printed to the scale of the original objects, these works elicit an uncanny illusionistic presence.
In his series of Factory Chairs, Lepore has documented the workers’ own interventions. Over the years these women, who have known the artist since birth, alter, dress, and decorate their sewing station seats with the same material they work with, both to individualize them, but, more importantly, to make them comfortable. Lepore photographs the chairs in a neutral but illusionary space—hung on the outside wall of the factory just before sunset, making them look as though they might be floating, or reclining—figures sunning themselves in makeshift bikinis.
The exhibition at Ghebaly Gallery coincides with an installation of Lepore’s work curated by Lauren Mackler on-site at the bikini factory in Lincoln Heights, available to view by appointment.
Anthony Lepore lives and works in Los Angeles. He received his BFA from Fordham University in 2000 and his MFA from Yale University in 2005. His work has been exhibited internationally, from Los Angeles and New York, to London, Paris, Turin, Milan, and Shanghai, and is held in the permanent collections of the Guggenheim Museum (New York), the Los Angeles County Museum of Art (Los Angeles), the Hammer Museum (Los Angeles), the J. Paul Getty Museum (Los Angeles), the Kemper Museum of Contemporary Art (Kansas City, Missouri) and Yale University Art Gallery (New Haven, Connecticut), among others.
Man Shall Know Nothing Of It
April 25 – June 6 2015
Opening Saturday, April 25, 7-10pm
“A kiss is the beginning of cannibalism.”
François Ghebaly is pleased to present Man Shall Know Nothing of It, an exhibition of new sculpture by Cammie Staros.
Staros continues her investigation into the abstract, mutant possibilities of antiquated forms. Body-scale works in wood, brass, and ceramic both invite and repulse the viewer’s touch. Staros’s sculptures size us up, as if to envelop and devour. Meanwhile, they seem to watch us back through painted eyes—perched, for example, in a tuck of Venetian blinds.
Staros mates tropes of Modernism with the ancient forms of Greece and Egypt; the resulting double-entendre’d objects are at once coolly elegant and quietly salacious. The shapely hips of clay pots stacked into a precarious totem flaunt the voluptuous undulations of a Brancusi. An oversized pot lies semi-prostrate, propped on its handles, impassive as a reclining nude. The simple lines and circles on its sides evoke soft bodily protrusions in the language of Picasso or Miró. Where detailed narrative paintings ring fired surfaces of ancient artifacts, Staros wipes these pots into red, white, and black abstractions.
The present sculptures bear a similarly abstracted relationship to the human form. The language of bodies and of vessels overlaps; round bellies belong to clay jars, wood carvings have hands. Recalling LeWittian angles, shelves in the posture of Egyptian reliefs or wooden snakes extend to the height of a standard doorway. These uncanny sculptures push traditional dynamics between man and object until their sensual anthropomorphic shapes seem to veil a threat. They promise much, yet relinquish little—beyond echoes of a lecherous past; a dry orgy of antiquities; histories stacked and interpenetrating; bodies reduced to patterns in abstract congress.
Cammie Staros graduated from Brown in 2006 with a BA in Art and Semiotics and from CalArts in 2011 with an MFA in Art.