110 North 1st Street, Brooklyn
Curated by Scott Hug
K48 magazine is proud to announce the opening of our “Kult 48 Klubhouse,” curated by Scott Hug. We have temporarily taken over the Deitch Projects Brooklyn space on North 1st Street at Berry in Williamsburg. Our opening party will take place on Friday, November 21, 2003, from 6 PM to midnight. There will be art installations by Michael Magnan, Daniel Joseph, Timmy Dowling, Andrew Guenther, Mike Paré, Matthew Jackson, Justin Samson, and many others, plus performances by Phiiliip and Avenue D! The new issue of K48 will be available for a special price of $10.
The exhibition will take the form of an abandoned house in the country. A cult of rebel artists has occupied the disused space for meetings and secret rituals in the romantic spirit of joining together to fight the evil forces of corporate oppression. “Kult 48 Klubhouse” will operate as a creative hideaway for multidisciplinary artists and their comrades. A place to hang out and socialize, organize protests and project utopian fantasies. We will provide a social structure for a growing community of collaborative projects. There’s a stage for bands to rehearse and perform. Future performances by new talent will be announced during the duration of our stay at Deitch Projects.
The show will also feature provocative works by several artists, including Mary Nicholson, Tyson Reeder, Chris Verene, Paul P., Jocko Weyland, Suzanne Ackerman, Dearraindrop, Matthew Brannon, PFFR, Keith Mayerson, Peter Coffin, Slava Mogutin, Sam Gordon, Tracy Nakayama, Billy Miller, Bengala, David West, Frank Webster, Bruce LaBruce, Devendra Banhart, Rachel Howe, Banks Violette, Ian Cooper, Scott Treleaven, Arnoud Holleman, Michael Meads, Giles Miller & Anna Sew Hoy, Jesse Bransford & Lorenzo De Los Angeles, assume vivid astro focus, Jeff Davis, Hanna Liden, Grant Worth, Robert Kitchen, Paul Brainard, Serge Kliaving, Hiroshi Sunairi, Kathy Grayson, Jeremy Yoder, Amy Steiner, Rosson Crow, Lucky DeBellevue, Jake Ewert, Stephen Stolicker, and others. Our combined efforts will be a strong voice against the ever-pervasive Imperial Administration. Keep up the good fight!
—from the press release
October 21 - December 22, 2017
18 Wooster Street
The faces are melting in Kenny Scharf’s new paintings. “Things are disintegrating,” he says, “I am reacting to our increasingly out-of-control situation.” Scharf’s work continues to be infused by his inexhaustible optimism and his sense of fun but there has always been an engagement with profound issues beneath the façade. Ecology, the environment, and capitalist excess have long been central themes. More recently, his paintings have shown his alarm over the effects of petroleum and the mountains of nondegradable plastic that are produced from it.
Scharf’s work has always combined and contrasted the pop culture he absorbed growing up in Los Angeles with the important innovations in modern and contemporary art. His earlier work fused Dali and Disney. More recently, he has been in dialogue with Pollock and Abstract Expressionism. In the new work, he merges his distinct style with color field and stain painting. “I like to connect with every movement in 20th-century art,” Scharf explains. “I make new hybrids, taking it all in and putting it in a blender.”
A distinctive style is something that Scharf admires in other artists and from the beginning has tried to achieve in his own work. He believes in art as an expression of individual identity. From his first mature work as a student at the School of Visual Arts, a painting by Kenny Scharf was instantly recognizable. Still adhering to his signature style, he continuously invents new forms.
Scharf is very enthusiastic about his new “sloppy style” that characterizes the major paintings in the exhibition. Rows of faces disintegrate into colorful drips reminiscent of both New York School painting and the serial imagery of minimal art. In these new works, Scharf is striving to create clear and simple forms that resonate with meaning. He feels liberated and excited, adding that “it is so much fun.”
The expression of emotion in art is essential to Scharf. Art that is cold leaves him cold. He explains that cartoon faces can express emotion with abstract power. Like his artistic colleagues from his early years in New York, Jean-Michel Basquiat and Keith Haring, Scharf studied cartoons as a way to intensify figurative expression.
It is his early downtown history that brings Scharf back to New York this October. The Museum of Modern Art is opening an exhibition on the seminal performance space Club 57 in which Scharf played a central role. Watching him paint, one can see how his experience as a backup dancer for Klaus Nomi and his other performative roles have shaped his approach to his work. One side of his painting practice is detailed and meticulous to the extreme. The other side is tremendously physical and requires him to use his body like a dancer.
Visitors to Scharf’s Los Angeles studio are greeted by a hundred or more discarded plastic toys in his yard and on his roof. During the early part of his career, Scharf found his art materials in the garbage. To this day, he still stops his car when he finds plastic toys and TV sets thrown away on the street. These discarded plastic objects have inspired the two other bodies of work featured in the show: his Assemblage Vivant Tableaux Plastiques, and his TV Bax. The assemblage works, which are inspired by the Nouveau Realistes, are constructed from his stock of recycled plastic toys. The TV Bax are painted on the plastic backs of discarded television sets. Like the toys, the TV backs have a disconcerting anthropomorphic quality. Scharf wonders if their anonymous designers created these plastic covers, which are different for every model, to resemble a face.
Scharf finds these thrown-away toys and TV backs to be poignant objects, resonant with emotion. “Each of these objects carries a story,” Scharf explains. He thinks about how people might have struggled and sacrificed to buy these toys and TVs, and about the intense relationship that children and families have with them. Scharf resurrects the lives of these inanimate objects in his work. He also notes that garbage keeps changing with technology. The backs of TV sets used to have large protruding “noses.” Now they are flatter and more similar to a canvas.
Since his childhood, Scharf has been fascinated by outer space. Space travel and the portrayal of infinite space have long been central themes. In his life and in his work, he tries to eliminate boundaries and borders. As he pursues his dialogue with the great painters of the New York School, he is increasingly preoccupied with the inner space of painting. His exploration of inner space creates a dynamic tension with his passion for outer space. With his characteristic exuberance and his moral voice, Scharf reformulates his unique combination of Pollock and Pop to create a vibrant new body of work.
Photo Credit: The1point8 and Adam Reich
Read about the Club 57 exhibition at MoMA in the New York Times here.
76 Grand Street
New York, NY 10013
18 Wooster Street
New York, NY 10013
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