Huma Bhabha
J.C.
2006
clay, wire, wood, iron, foam, acrylic paint
32 1/2 x 18 1/4 x 12 inches
82.6 x 46.4 x 30.5 cm
HB2591
Fabian Marcaccio
This just out paintant
2008-9
pigmented inks on structural canvas, alkyd paint and silicone
66 x 42 x 24 inches
167.6 x 106.7 x 61 cm
FM2596
Jon Kessler
Untitled 7
2009
photo chemicals on photo paper
24 x 28 inches
61 x 71.1 cm
JK2568
Pat McElnea
She's Fine
2009
quicktime movie, color, sound
6:07 min
PM2613
Cheryl Donegan
Cheryl
2005
DVD, color, sound
26:39 min
CD2612
Matthew McCaslin
Failed Rainbow
2001
humidifier, corrugated sheet metal, halogen light bulb
32 x 12 x 8 inches
81.3 x 30.5 x 20.3 cm
MM2598
Tony Feher
Clinton Steet
2004
plywood and flattened aluminum pan
40 x 24 x 9 1/4 inches
101.6 x 61 x 23.5 cm
TF2611
Dieter Roth
Schlecht Erkennbares Blumen Still-Leben
1977/79
paint, graphite and cardboard on wood
22 x 17 inches
55.9 x 43.2 cm
DR0535
Eugène Leroy
Ides de Mars - Iris
1992
oil on linen
28 3/4 x 21 1/4 inches
73 x 54 cm
EL2582
Dan Colen
Scrambled or Fried?
2008
chewing gum and chewing gum wrapper in artist's frame
30 x 24 inches
76.2 x 60.1 cm
DC2630
Dan Colen
Untitled
2008
oil on canvas in artist's frame
21 1/8 x 17 1/8 inches
53.8 x 43.6 cm
DC2629
Dan Colen
Untitled
2008
chewing gum and chewing gum residue on canvas in artist's frame
19.1 x 15.1 inches
48.5 x 38.4 cm
DC2631
Cheryl Donegan
Untitled
2007
silver tape on sheet metal on cardboard
17 x 24 inches
43.2 x 61 cm
CeD2588
John Miller
An Abdication of Logical Thinking
2009
assorted objects, plaster, paper mache and imitation gold leaf on panel
48 x 42 x 15 inches
121.9 x 106.7 x 38.1 cm
JM2585
Jessica Craig Martin
Pink Lady: AmFar Benefit, Cannes 2008
2008
digital C-Print
17 x 24 inches
43.2 x 61 cm
Edition 1/5
JC2619
Jessica Craig Martin
Sweaty Salmon: AmFar Benefit, Cannes 2008
2008
digital C-Print
17 x 24 inches
43.2 x 61 cm
Edition 1/5
JC2632
Hanneline Røgeberg
Halo Hide
2009
oil on linen
16 x 12 inches
40.6 x 30.5 cm
HR2625
Bill Schwarz
Untitled (Still Men)
photographic prints, acrylic sleeves, double sided foam tape
6 1/2 x 10 1/2 inches
16.5 x 26.7 cm
BS2608
Alexander Ross
Untitled
2009
graphite and watercolor on paper
40 x 32 inches
101.6 x 81.3 cm
signed and dated on verso
AR2636
Carroll Dunham
Untitled
1984-85
graphite, ink, and paint on wood veneer
41 1/2 x 25 1/2 inches
105.4 x 64.8 cm
CD0823
Markus Lüpertz
Landschaft schwarz
1998
oil on canvas
39 1/4 x 32 inches
99.7 x 81.3 cm
ML2583
Malcolm Morley
The Theory of Catastrophe
2004
oil on linen
81 x 76 inches
205.7 x 193 cm
MM2586
Joe Bradley
Untitled (Schmagoo)
2009
grease pencil on canvas
66 1/8 x 46 inches
168 x 116.8 cm
signed and dated verso
JB2620
Michelle Segre
Untitled
2009
papier-mache, metal, beeswax, oil, acrylic
31 x 35 x 18 inches
78.7 x 88.9 x 45.7 cm
MS2615
Frank Stella
K.94 (3rd version)
2006
aluminum PRT, spray paint
11 x 13 x 10 inches
27.9 x 33 x 25.4 cm
FS2617
Slough
curated by Steve DiBenedetto
May 28 - June 27, 2009
Slough
curated by Steve DiBenedetto
May 28 - June 27, 2009
Slough
curated by Steve DiBenedetto
May 28 - June 27, 2009
Slough
curated by Steve DiBenedetto
May 28 - June 27, 2009
Slough
curated by Steve DiBenedetto
May 28 - June 27, 2009
Slough
curated by Steve DiBenedetto
May 28 - June 27, 2009
Slough
curated by Steve DiBenedetto
May 28 - June 27, 2009
Slough
curated by Steve DiBenedetto
May 28 - June 27, 2009
Slough
curated by Steve DiBenedetto
May 28 - June 27, 2009
New York, NY, May 1, 2009 - David Nolan Gallery is pleased to announce Slough, a group exhibition curated by gallery artist Steve DiBenedetto.
The impetus behind this exhibition is the flexibility of the word slough, which has various interpretations. Pronounced slew, slough can describe a bog-like, swampy, dark, primordial and somewhat mysterious realm. The alternate and less used, but maybe also appropriate interpretation, is a state of moral degradation or spiritual dejection that one cannot extract oneself from. Pronounced sluff, slough refers to that which has been cast aside or shed off, like a skin. It can also describe the manner in which material tends to accumulate at the edges of a performed task, such as the accumulation of dust on the rim of a fan, snow on the edge of a shovel, or trash in the breakdown lane of a highway.
Either way, these notions, in a very general sense, will be used as the stimulus to explore ideas about marginal territory, accumulation, holes and residue. Some works will have a more obvious connection to these conditions, (i.e., Larry Poons, Jessica Jackson Hutchins, and Tony Feher), while other works might be a little more unexpectedly related, (i.e., Jessica Craig Martin, Philip Taaffe, and Hanneline Rogeberg).
A certain dynamic at work will be the inclusion of things that may not even be apparent as art at first, coexisting with virtual masterpieces of traditional forms. The works, which represent a highly diverse range of mediums, from established 20th century masters to cutting edge contemporary artists, will associate with various states of deterioration and repair, forging unusual and unforeseen connections between old and new work.
While not an exact follow-up to DiBenedetto's last curatorial effort, Loaf (2000), which involved sculpture exclusively, Slough does bring back some of the same artists.
Artists include:
Vito Acconci, Robert Bordo, Huma Bhabha, Joe Bradley, Werner Büttner, Dan Colen, Cheryl Donegan, Carroll Dunham, Keith Edmier, Tony Feher, Jessica Jackson Hutchins, Eugène Leroy, Markus Lüpertz, Jon Kessler, Eric Mack, Fabian Marcaccio, Jessica Craig-Martin, Matthew McCaslin, Pat McElnea, Jonathan Meese, John Miller, Malcolm Morley, Larry Poons, Hanneline Røgeberg, Alexander Ross, Dieter Roth, Bill Schwarz, Michael Scott, Michelle Segre, Lytle Shaw and Jimbo Blachly, Frank Stella, Philip Taaffe, and Andy Warhol.