July 14 – August 18, 2012
Taylor De Cordoba is pleased to present Summer Sun, a group exhibition curated by LA-based artist Hadley Holliday including works by Pamela Jorden, Emily Newman, John Pearson and Tyler Vlahovich and Hadley Holliday. The exhibition will run from July 14 – August 18, 2012 with an opening reception on Saturday, July 14th from 6 – 8PM.
In Los Angeles the sun is our constant companion. In summer it screams down from indigo skies commanding us Outside! Rejoice! Recent events have made angelenos more aware than ever of the sun’s presence. In May 2012, the strange twilight of an eclipse cast a lonely shadow over the city. A few weeks later a “little black spot on the sun” reminded us of the sun’s massive girth as Venus, a planet similar in size to the earth, appeared as a tiny speck traversing the sun’s surface.With the passing of the solstice, the days begin to shorten and yet in LA the temperature continues to rise. Contrast increases and shadows darken against the white light of the sun. Mirages transpose images of the sky onto the earth. Venturing into the cool of the gallery, these featured artists meld mystery, beauty, joy and fear into images of our quotidian experience sparkling in the summer sun.
Hadley Holliday’s abstractions flood pigment against a geometric framework to create fluctuating radiant spaces. Pamela Jorden’s paintings contrast soft and hard, fluid and solid with a jubilant interaction of shape and pattern. Emily Newman’s videos explore imagination, legend and utopian aspirations in everyday life. John Pearson’s cyanotypes and videos are meditations on light and shadow, the process a direct translation of sunlight into image. Tyler Vlahovich’s high contrast paintings and idiosyncratic sculptures point to the ritual roots of mark-making.
Taylor De Cordoba is located at 2660 S La Cienega Blvd in Los Angeles, CA and is open from Tuesday – Saturday,11am-5pm. For additional press information, contact Heather Taylor at firstname.lastname@example.org or (310)559-9156.
April 14 – May 19, 2012
Taylor De Cordoba is proud to present Everywhere Close To Me, Charlene Liu’s third exhibition at Taylor De Cordoba. The exhibition will run from April 14 – May 19, 2012 with an opening reception for the artist on Saturday, April 14th from 6 – 8PM.
In her new body of works on paper and panel, Liu manipulates the medium of paper itself to create a series of beautiful yet unsettling abstractions. Along with acrylic airbrush, handmade paper is Liu’s material of choice and she uses delicately pigmented papers to build her collaged works. Armed with an overtly feminine palette of pinks, peaches, mints and violets, the work oscillates between extreme beauty and the saccharin. Through a process of forming paper pulp into shapes and painting with pigmented pulp, Liu cultivates chance and embraces a stylistic looseness that playfully mines painterly traditions.
Drawing from the everyday of her domestic interior and backyard landscape, as well as, chinoiserie and decorative art objects, Liu repeatedly recasts and collides motifs until their specificity collapses and a new world emerges. Clustered plum blossoms lie tangled in a chain link fence as loose abstract marks float through a celestial backdrop. Swooping and drifting the imagery can’t be contained, pushing through entangling lines and the confines of the rectangle. In the larger works, she subverts by piling up delicate motifs and details until they become dominating, even grotesque.
The combined elements create a pictorial space confounding ideas of ornamentation and desire, high and low forms, figure and ground. Repeatedly, Liu walks the line between celebration and critique, as she moves gracefully from imagery to abstraction. The result is a stunning series of imagined landscapes.
Liu lives and works in Eugene, OR where she is an Assistant Professor at the University of Oregon. Born in Taiwan in 1975, Liu received an MFA from Columbia University in 2003 and a BA from Brandeis University in 1997. Her work has been exhibited nationally and internationally, with recent solo exhibitions at Taylor De Cordoba Gallery (Los Angeles), Elizabeth Leach Gallery (Portland, OR), and Shaheen Modern & Contemporary (Cleveland, OH). Her work has been reviewed in the Los Angeles Times, the New York Times, and Flash Art International among others and is included in the collections of the Museum of Modern Art (New York), the New Museum (New York), and the Progressive Art Collection (Cleveland, OH).
Warp and Weft
February 25 – April 7, 2012
Taylor De Cordoba is proud to present Warp and Weft, a series of abstract paintings by Los Angeles-based artist Hadley Holliday. The exhibition will run from February 25 – April 7, 2012, with an opening reception for the artist on Saturday, February 25 from 6 – 8PM.
For Holliday’s first exhibition at Taylor De Cordoba, the artist debuts a new series of acrylic paintings wherein she explores ideas of space and depth while referencing traditional craft. In striking shades of blue, Holliday creates psychedelic patterns of interlocking circles, which form arched, expansive spaces. The circles mimic overlapping lenses, with each section projecting a different depth of field and creating its own space within the whole. The effect of the pattern is dizzying but also serene, as the varying shades of blue evoke images of the infinite (both the sublime night sky and the mysterious yet inviting sea). Holliday references the history of abstract painting with a fluid style, seemingly pouring colors over the white of the canvas into lines, shapes and patterns. Here, the canvas’ negative space is as important as the color, which rather than staining the canvas, forms a thin film on the surface.
The show’s title, Warp and Weft is an allusion to the weaving, the ancient craft of making fabric by “interweaving” material into a series of right angles. In these paintings, the circles literally weave together into a pattern of geometric shapes. While creating this body of work, Holliday considered the mythology of weaving and the way in which the terminology has become associated with lofty themes of creation and change – spinning the thread of time, the fabric of the universe and yarn as synonym for a tall tale. By using one powerful color and repeating the simple circular shape, Holliday weaves a unique narrative, which invites the viewer into a meditative experience, not unlike the one Holliday enters during the process of painting.
Hadley Holliday lives and works in Los Angeles, California. She received her MFA from CalArts in 2004 and has exhibited at numerous galleries including Sam Lee Gallery (Los Angeles) and Solway Jones (Los Angeles). Reviews of her exhibitions have appeared in ArtWeek, The Los Angeles Times and Art LTD, among others.
Danielle Mourning: Ordinary Time
January 7 – February 11, 2012
PRESS RELEASE : For Immediate Release
Taylor De Cordoba is proud to present Ordinary Time, new photographs by San Francisco- based artist Danielle Nelson Mourning. The exhibition will run from January 7 – February 11, 2012, with an opening reception for the artist on Saturday, January 7 from 6 – 8PM.
For Mourningʼs second solo exhibition at Taylor De Cordoba, she continues her exploration of self- portraiture through photography and mixed media photographic paintings. In previous bodies of work, the artist represented her family history by assuming the roles of her ancestors from Mississippi, New York and Ireland (she literally slipped in and out of their homes, attire and settings to create this cinematic images). Mourning turned the lens on herself and set out to discover her own identity through the assumed identities of those who came before her. With Ordinary Time, the costumes are gone, as are the far-away locales. Rather, the artist is deeply invested in the present moment and capturing her sense of time and place on film. The resulting series of self-portraits is strikingly raw, honest and filled with intensity.
Providing context to the portraits are atmospheric photographs of landscapes and abstracted objects, which connect to the artistʼs Northern California upbringing – a hazy shot of the sun setting in Bolinas, a Native American Miwok tepee at sunrise in West Marin and a shattered mirror photographed from her Grandmother’s house are among the subjects Mourning photographs.. And while this new work is clearly a meditation on the present, the past continues to haunt Mourningʼs process. In the words of the artist, “This moment is an unveiling of the present yet there is always the past walking with me.”
The show is dedicated to the artistʼs grandmother, Ruth Catherine Nelson.
RECRAFTING HISTORY: history, nostalgia & craft in the American memory
curated by Ellen Caldwell
October 29 – December 22, 2011
“Cultural memory is produced through objects, images, and representations. These are technologies of memory, not vessels of memory in which memory passively resides so much as objects through which memories are shared, produced, and given meaning.”
– Marita Sturkin, Tangled Memories
Artists Eric Beltz, Jen Pack, Karen Spector, Frohawk Two-Feathers, and Stephanie Washburn all speak to Sturkin’s concept of a shared history and entangled cultural memory. Exploring our modern world through a recrafted lens, they create fictitious, re-envisioned, nostalgic, and comical memories and renderings of the past and present. Negotiating themes ranging widely in subject and medium, each artist in Recrafting History answers the question, how do we exhibit histories that we don’t talk about? In experiencing their art, we as viewers, are welcomed to explore the deeper themes that trouble the American psyche and collective American memory.
With Eric Beltz’s series of graphite-drawn needlework, Beltz calls the concept of Americana and nostalgia into crisis, by recrafting traditional female work (often considered lowbrow), into male-made High Art (with a capital “A”) for the gallery wall. He appropriates the aesthetic of the craft, but changes the medium and technique, at once reviving and altering the tradition. Additional textual messages tangle and trouble the subject further.
Built of chiffon, thread, and wood, Jen Pack’s Green Bikini and (k)not Entangled use a deconstructed and reconstructed medium to create a dialogue between the viewer and art. Her work, though built from the same materials, takes on a transformative air in the final products’ drastically different forms and functions. And her seemingly disjointed titles are about displacement, and the eternal struggle that comes from deconstructing and reconstructing one’s identity on an ongoing basis.
In Surplus of Light, Karen Spector situates the viewer in an endless video loop that taps into and oscillates from a national post-9/11 fear and insecurity, to a ridiculous feeling of lavishness, abundance, and wealth (found in the extravagant display of fireworks), to a looming uncertainty questioning and undermining American monumentalism and ballsy patriotism. The reversed anthems are a type of siren song, hovering and looming in the soundtrack as both celebratory and foreboding.
With Frohawk Two-Feathers’ latest installment of the saga of the Frenglish Empire, viewers become part of an exchange between cultural memory and history—between the fictitious Frenglish Company Crocodile and our world, with reality being somewhere in the middle. His work focuses mainly on the conflict arising from European colonial conquest, though it is shown predominantly in America, thus forcing American audiences to view this work, and this imperialist retelling, as culturally and historically relevant.
Stephanie Washburn’s Margaret Thatcher’s Garden, offers a sneak-peak into the intimate domestic space of a political body. Through her musings of this imagined realm, we are not just in the midst of a physical interpretation of an exterior location, but are also conceptually in an interior realm of Thatcher herself. Through something as concrete as a garden, we can re-imagine the historical setting for actual political decisions, while also envisioning Thatcher’s internal, private space of contemplation away from the public eye.
Kimberly Brooks: Thread
September 10 – October 22, 2011
Taylor De Cordoba is pleased to present Thread, a solo exhibition of new oil paintings by Los Angeles-based artist Kimberly Brooks. The exhibition will run from September 10 – October 22. The gallery will host an opening reception on Saturday, September 10 from 6pm-8pm.
In her latest body of work, Kimberly Brooks continues to explore portraiture, specifically the complexities of representations of female identities. While in her previous series, including Mom’s Friends (2007) and The Stylist Project (2010), the artist used figures to construct narratives, here the female form is part of a broader abstracted landscape. And while earlier portraits boasted an uncanny likeness to their subjects, Brooks’ style has shifted into something that is simultaneously looser and richer. Facial features have been abstracted and bodies distorted. Fashion and costume, a longtime theme for Brooks, is also deconstructed. Once painstakingly rendered folds and drapes have been reduced to their essential shapes and color fields. In these sumptuous new images, Brooks continues to address questions about how we frame beauty, and the phenomenon of fashion as a both pop culture and artistictouchstone. Taken as a whole, the new paintings create a meta-narrative that contemplates “threads” that define, unite and separate us across different cultures and eras.
Kimberly Brooks’ work has been featured in numerous juried exhibitions organized by curators from the Whitney Museum of American Art and the Museum of Modern Art. Her work has been featured in myriad publications including the Los Angeles Times, Art Ltd., Daily Serving, The Huffington Post, Vanity Fair, Vogue, among others.