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Crash One & Oliver Vernon @ Joshua Liner Gallery, by JoshuaLinerGallery on Jan 12, 2009 21:39:06 GMT 1, Our first exhibits of the new year open this Saturday January 17th with Crash One (John Matos) & Oliver Vernon. Both artists will be in attendance at the opening reception on Saturday from 6-9pm. Releases and sample images below, if you would like to receive the preview link please contact the gallery directly. We hope to see you here.
Crash One (John Matos) :
Including new paintings and selected works from the 1990s, the exhibition highlights the unique place Crash holds in the development of late 20th century visual culture. Some twenty years after Roy Lichtenstein first brought comic books into the fine art discourse, Crash did as much for American graffiti, incorporating his signature tags and style into large, spray-painted canvases. Once transposed, this street language identifying cultural groups and delineating urban territory assumed new meanings and relevance, appraised finally for its formal inventiveness.
In more recent works, Crash excerpts mere details from his wider language of linguistic signs, graphic forms, and rainbow-hued embellishments. Rendered as pure abstraction, these edited bands are placed in contrast with details from the human body, eyes in particular. Sandwiched between wildly colored bands of graffiti-styled marks, these glistening eyes both accentuate and subvert the seductiveness of Crashโs self-styled visual language. Commercialism is at once embraced and repelled. Much like the Pop artists Lichtenstein and Tom Wesselmann before him, Crash identifies the graphic arts of his own era as both a communicator and container for human desiresโwith a measure of the street artistโs ambivalence intact.
Crash (John Matos) Untitled (Blam) 1998 Acrylic and enamel on canvas 12 x 80 inches
Crash (John Matos) Rumors Unfulfilled 2008 Spray paint on canvas 36 x 36 inches
Oliver Vernon:
Created with acrylic and ink on paper, canvas, and wood, Vernonโs series of small-, medium-, and large-format works depicts his own highly idiosyncratic โBig Bangโ theory. In the artistโs colorful vision of the cosmos, nature and culture collide (or cooperate) in the creation (or destruction) of the universe. Any questions of origin or outcome are overpowered by the sheer dynamism of Vernonโs images: a balletic interplay of protoplasm, cultural signs, body forms, geometric abstraction, and bravura brushwork.
In Sumi Gouache III, a progression of delicate aqueous blotches evolves into a solid network of bone shapes and contemporary graphic-design elements. In Pivotal Hotspot, these decorative elements are a soothing, ordered backdrop for the chaotic clash of wave formsโwater, fire, lava, smoke, iceโembattled in diagonal swathes across the paintingโs surface. Cross Fire III, a long, scroll-like work, depicts a smoky miasma of protoplasm and planets. Contained within space-age purple spirals, this dark mass bubbles against a background collage of architectural designs, snippets of printed Hebrew text, foreign money, and wallpaper designs.
Vernonโs quirky combinations of organic, mechanical, cosmological, and cultural elements teem with lively intelligence. Their intuitive grasp of the relationship between energy and matter, thought and action, also references wide segments of cultural production, including Native American art forms, contemporary Japanese graphic design, 20th century Surrealism, and New York School abstract painting. Vernonโs โcosmosโ creates a fluid atmosphere where cultural material moves in and out of focus, amid other earthier dynamics. This metaphorical expanse also allows the artist to explore the โdeconstruction and reconstruction of visual space.โ According to Vernon, โEach painting has its own set of rules, or rather, the rules are being bent, broken, and ultimately formed within each painting. Color, form, energy, architecture, good, evil, flesh, and machine are lurking, never as physical entities but as transient archetypes searching out their final places within the framework of the cosmos.โ
Oliver Vernon Hammerloom 2008 Acrylic on canvas 66 x 56 inches
Our first exhibits of the new year open this Saturday January 17th with Crash One (John Matos) & Oliver Vernon. Both artists will be in attendance at the opening reception on Saturday from 6-9pm. Releases and sample images below, if you would like to receive the preview link please contact the gallery directly. We hope to see you here. Crash One (John Matos) : Including new paintings and selected works from the 1990s, the exhibition highlights the unique place Crash holds in the development of late 20th century visual culture. Some twenty years after Roy Lichtenstein first brought comic books into the fine art discourse, Crash did as much for American graffiti, incorporating his signature tags and style into large, spray-painted canvases. Once transposed, this street language identifying cultural groups and delineating urban territory assumed new meanings and relevance, appraised finally for its formal inventiveness. In more recent works, Crash excerpts mere details from his wider language of linguistic signs, graphic forms, and rainbow-hued embellishments. Rendered as pure abstraction, these edited bands are placed in contrast with details from the human body, eyes in particular. Sandwiched between wildly colored bands of graffiti-styled marks, these glistening eyes both accentuate and subvert the seductiveness of Crashโs self-styled visual language. Commercialism is at once embraced and repelled. Much like the Pop artists Lichtenstein and Tom Wesselmann before him, Crash identifies the graphic arts of his own era as both a communicator and container for human desiresโwith a measure of the street artistโs ambivalence intact. Crash (John Matos) Untitled (Blam) 1998 Acrylic and enamel on canvas 12 x 80 inches Crash (John Matos) Rumors Unfulfilled 2008 Spray paint on canvas 36 x 36 inches Oliver Vernon: Created with acrylic and ink on paper, canvas, and wood, Vernonโs series of small-, medium-, and large-format works depicts his own highly idiosyncratic โBig Bangโ theory. In the artistโs colorful vision of the cosmos, nature and culture collide (or cooperate) in the creation (or destruction) of the universe. Any questions of origin or outcome are overpowered by the sheer dynamism of Vernonโs images: a balletic interplay of protoplasm, cultural signs, body forms, geometric abstraction, and bravura brushwork. In Sumi Gouache III, a progression of delicate aqueous blotches evolves into a solid network of bone shapes and contemporary graphic-design elements. In Pivotal Hotspot, these decorative elements are a soothing, ordered backdrop for the chaotic clash of wave formsโwater, fire, lava, smoke, iceโembattled in diagonal swathes across the paintingโs surface. Cross Fire III, a long, scroll-like work, depicts a smoky miasma of protoplasm and planets. Contained within space-age purple spirals, this dark mass bubbles against a background collage of architectural designs, snippets of printed Hebrew text, foreign money, and wallpaper designs. Vernonโs quirky combinations of organic, mechanical, cosmological, and cultural elements teem with lively intelligence. Their intuitive grasp of the relationship between energy and matter, thought and action, also references wide segments of cultural production, including Native American art forms, contemporary Japanese graphic design, 20th century Surrealism, and New York School abstract painting. Vernonโs โcosmosโ creates a fluid atmosphere where cultural material moves in and out of focus, amid other earthier dynamics. This metaphorical expanse also allows the artist to explore the โdeconstruction and reconstruction of visual space.โ According to Vernon, โEach painting has its own set of rules, or rather, the rules are being bent, broken, and ultimately formed within each painting. Color, form, energy, architecture, good, evil, flesh, and machine are lurking, never as physical entities but as transient archetypes searching out their final places within the framework of the cosmos.โ Oliver Vernon Hammerloom 2008 Acrylic on canvas 66 x 56 inches
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Ad Hoc Art
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March 2008
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Crash One & Oliver Vernon @ Joshua Liner Gallery, by Ad Hoc Art on Jan 14, 2009 8:33:10 GMT 1, Just a heads up...Crash also has a major feature show (with Chris "Daze" Ellis) this coming May, with all new works, at Ad Hoc Art!
Just a heads up...Crash also has a major feature show (with Chris "Daze" Ellis) this coming May, with all new works, at Ad Hoc Art!
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Crash One & Oliver Vernon @ Joshua Liner Gallery, by JoshuaLinerGallery on Jan 14, 2009 19:50:10 GMT 1, Rather than attempt to hijack all my threads regarding Crash on more than one forum why don't you start your own thread to promote your show four months in advance.
What a class act you are...
Rather than attempt to hijack all my threads regarding Crash on more than one forum why don't you start your own thread to promote your show four months in advance.
What a class act you are...
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