Archive for October, 2007

Fall News

Wednesday, October 31st, 2007

Sasha Bezzubov
-Image reproduced on cover of the New York Times Magazine, August 26th, 2007
-New work from the series The Searchers, on exhibit at the Noorderlicht Photofestival 2007, in collaboration with Jessica Sucher.
-Review of The Searchers on Daily Serving

Kimberly Brooks
-Recently exhibited a selection of paintings at Versace, Beverly Hills
-Donated a piece to the LAXART Benefit Auction, November 4th
-Named “Best in Show” in November issue of Elle Magazine
-Launched weekly column “First Person Artist” on the Huffington Post

Kyle Field
-Included in group show, Bliss, at Roberts and Tilton, curated by by Lindsay Charlwood, thru November 10th.
-Included in group show, Biome, at Lincart, curated by Johanna St. Clair, thru December 1st.
-Contact Taylor De Cordoba to order a copy of Kyle Field’s new book, Put it in a Nutshell published by Ahornfelder.
-Upcoming: Exhibition at Atelier Cardenas Bellanger, Paris, January 2008

Timothy Hull
-Included in recent group show, Painted Faces – The Mask in Contemporary Art, at Kinkead Contemporary
-Recently exhibited new work in solo show, The Swarm of Possible Meanings Surrounding the Ancient Pyramids, at Freight+Volume
-Interviewed on Huffington Post

Charlene Liu
-Recently exhibited new work in solo exhibiton, Before The Storm, at Taylor De Cordoba
-Received rave review by Leah Ollman in the Los Angeles Times

Jeana Sohn
-Upcoming: Solo exhibition, My Hands Are Crispy, at Taylor De Cordoba, December 15th, 2007 thru January 26th, 2008

Frohawk Two Feathers
-Selected for New American Paintings 2007 Pacific Coast Competition, juried by MOCA curator Alma Ruiz
-Debuted 2 new paintings at Art Forum Berlin with Spencer Brownstone Gallery
-Upcoming: Solo exhibition at Taylor De Cordoba, February 2008

-Interview with Heather Taylor in the November issue of Elle Magazine
-Gallery review in Beautiful Decay magazine by Sasha Lee
-Currently on exhibit: A Great Delicacy, curated by Melissa Levin, thru December 1st, 2007.
-Taylor De Cordoba is pleased to be participating in Aqua Art Miami, December 4th thru 9th, 2007

Heather Taylor Interviewed in Elle Magazine

Wednesday, October 31st, 2007

Click to enlarge

A Great Delicay opens at Taylor De Cordoba

Saturday, October 27th, 2007

The gallery opened a new show entitled, A Great Delicacy, on October 20th. This exhibition was curated by Melissa Levin and features work by six New York-based artists: Michael Bilsborough, McKendree Key, Danica Phelps, Gregory Parma Smith and Rebecca Veit + Kathryn Hillier.

A GREAT DELICACY, curated by Melissa Levin

Saturday, October 20th, 2007

A Great Delicacy, Curated by Melissa Levin

October 20 – December 1, 2007

Taylor De Cordoba is pleased to present A Great Delicacy, a group show featuring 5 New York based artists, curated by Melissa Levin. A great delicacy can be an indulgence, but is also a way (with which) to render and create. The artists in this show are making work about food, sex, waste spills in the ocean, and the ways we digest or filter our own consumption. And there is an awareness in the work of the way we consume, a great delicacy in the treatment of the concepts and the rendering whether through photography, painting, drawing or collage. Generally it is more and more possible to become disconnected from what we eat, with whom we make love, where our waste goes after it leaves our cars, homes, and bodies. Each of the artists represented in this show are attentive to these things, if not in awe of them.

Rebecca Veit and Kathryn Hillier’s still lives, from their series, The Never Wilting Flower Project, are beautiful and strange. Using food and objects shopped mostly at farmers and flea markets in both Paris and New York, the photographs direct your experience of these moments as they might never occur – like a pineapple painted gold and used for its odd body or a post-coital pomegranate torn apart and resting in front of a dense red curtain.

Michael Bilsborough’s drawings are simultaneously wild and controlled, sometimes erotic, and often grotesque. They are depictions of orgies inside perfectly constructed architecture and using perfect perspective. Figures might be repeated several times, performing different acts, often on one another. Devoid of sensuality, or voluptuous flesh, these scenes are anonymous but charged and are especially so in a world so saturated with generic sexual imagery focused on titillation and usually for sale. Ultimately, in Bilsborough’s work, there is a great conflation of the most attractive opposites, the Apollonian and the Dionysian.

This combination of the excessive and the restrained also appears in a different form in Gregory Parma Smith’s paintings. There is something very decadent in his renderings of generic things like strawberries or a pocketknife. It is as if he has gone deep inside of the thing (and of painting itself) and extracted the elements of its Platonic iteration. The subjects and surfaces of his paintings are therefore exquisite and pristine, but also luscious and very exciting.

McKendree Key’s collages are part of a series called Possibilities “based on the infinite number of possible scenarios taking place in the North-Pacific Gyre.” The North-Pacific Gyre, located between Asia and North America in the Pacific Ocean, has been described as “soupy with plastic”* because of the amount of waste it contains – mostly due to large spills from container ships. There are not images of the spills and in response, Key has created collaged waves filled with computer monitors, Nike shoes, umbrellas and traffic cones – a comment on the proliferation of needless and ignorant over-consumption. *From “Beach: Nike Shoes Wash Up”, by Janice Posada of The Daily Herald (Everett, Washington, 2001)

And Danica Phelps’ records of spending, earning and making love, from the series Integrating Sex into Everyday Life, are a detailed and obsessive daily documentation. These quantitative and qualitative accounts provide a more literal iteration of the intake and output of things in the world. This kind of record can appear detached but here it remains a highly personal account of daily struggles and triumphs