HIGHLIGHT: CHELSEA

October 6 – 27, 2018

William Buchina (b. 1978) Common Structures, Simple Mechanics & Varying Degrees of Affection #16, 2018

William Buchina (b. 1978)
Common Structures, Simple Mechanics & Varying Degrees of Affection #16, 2018
Acrylic on canvas, 54 x 54 inches
Courtesy of the artist and Slag Gallery, Brooklyn, NY

Elizabeth Cooper (b. 1972) Untitled, 2016

Elizabeth Cooper (b. 1972)
Untitled, 2016
Oil and enamel on canvas, 48 x 48 inches

Corydon Cowansage (b. 1985) Hole #47, 2018

Corydon Cowansage (b. 1985)
Hole #47, 2018
Acrylic on canvas, 50 x 46 inches

Marcel Dzama (b. 1974) My mother, my father, my sister, my killer, my lover, my savior, and other faces I once knew, 2014

Marcel Dzama (b. 1974)
My mother, my father, my sister, my killer, my lover, my savior, and other faces I once knew, 2014
Watercolor, gouache, and graphite on paper in two (2) parts, 17 x 28 inches
Courtesy the artist and David Zwirner
SOLD

Brenda Goodman (b. 1943) Siblings, 2017

Brenda Goodman (b. 1943)
Siblings, 2017
Oil on wood, 50 x 72 inches (diptych)

André Hemer (b. 1981) Sky Painting #6, 2018

André Hemer (b. 1981)
Sky Painting #6, 2018
Acrylic and pigment on canvas, 47 x 33 inches

John Knuth (b. 1978) Distorted Landscape - Hudson River School, 2018

John Knuth (b. 1978)
Distorted Landscape - Hudson River School, 2018
Mylar, staples, and acrylic on canvas, 32 x 62 inches

Hiroya Kurata (b. 1980) Fence, 2018

Hiroya Kurata (b. 1980)
Fence, 2018
Oil on canvas, 39 x 44 inches
SOLD

Matt Mignanelli (b. 1983) August Tides, 2018

Matt Mignanelli (b. 1983)
August Tides, 2018
Enamel and acrylic on canvas, 72 x 60 inches
Courtesy Matt Mignanelli/Denny Dimin Gallery, NYC

Matt Phillips (b. 1979) Untitled, 2017

Matt Phillips (b. 1979)
Untitled, 2017
Pigment and silica on linen, 30 x 24 inches

Esther Ruiz (b. 1986) Well XIII, 2017

Esther Ruiz (b. 1986)
Well XIII, 2017
Neon, plexiglass, MDF, paint, and hardware, 18 (H) x 24 (W) x 3 (D) inches
Edition of 5
Photo credit: Helga Traxler

Eric Shaw (b. 1983) Untitled, 2018

Eric Shaw (b. 1983)
Untitled, 2018
Acrylic on canvas, 40 x 48 inches
Courtesy of the artist and The Hole, NYC
SOLD

Devin Troy Strother (b. 1986) i think we've all got a lil too much on our plate right now, i'm gonna need a doggie bag, 2018

Devin Troy Strother (b. 1986)
i think we've all got a lil too much on our plate right now, i'm gonna need a doggie bag, 2018
Acrylic, pencil, oil stick, oil paint, balsa wood, ink jet print, silkscreen, caulking, cut water color paper, found joint, (painted brush by Henry Taylor), on wood panel, 48 x 36 inches
Courtesy of the artist and Marlborough Contemporary, New York and London

Marcel Dzama (b. 1974)
Children of the Future Age, 2010
Wood, glass, cardboard, paper collage, watercolor, and ink diorama, 25 1/4 (H) x 21 1/2 (W) x 7 (D) inches

Marcel Dzama (b. 1974) A monstrous red desire, 2014

Marcel Dzama (b. 1974)
A monstrous red desire, 2014
Watercolor, gouache, and graphite on paper, 14 x 11 inches
Courtesy of the artist and David Zwirner

Marcel Dzama (b. 1974) The pulse of our own blood, 2014

Marcel Dzama (b. 1974)
The pulse of our own blood, 2014
Watercolor, gouache, and graphite on paper, 13 7/8 x 11 inches
Courtesy of the artist and David Zwirner

Marcel Dzama (b. 1974)
Untitled, 2004
Ink and watercolor on paper, 14 x 11 inches

Marcel Dzama (b. 1974) Just Keep Smiling and Nodding, Early 2000s

Marcel Dzama (b. 1974)
Just Keep Smiling and Nodding, Early 2000s
Ink and watercolor on paper, 14 x 11 inches

Brenda Goodman (b. 1943) Life is Good, 2017

Brenda Goodman (b. 1943)
Life is Good, 2017
Oil on paper, 6 x 8 inches
 

Brenda Goodman (b. 1943) Surrender, 2017

Brenda Goodman (b. 1943)
Surrender, 2017
Oil on paper, 6 x 8 inches

Brenda Goodman (b. 1943) Pleasure, 2017

Brenda Goodman (b. 1943)
Pleasure, 2017
Oil on paper, 6 x 8 inches
 

André Hemer (b. 1981) Sky painting #16, 2018

André Hemer (b. 1981)
Sky painting #16, 2018
Acrylic and pigment on canvas, 47 x 33 inches
 

André Hemer (b. 1981) Sky painting #15, 2018

André Hemer (b. 1981)
Sky painting #15, 2018
Acrylic and pigment on canvas, 47 x 33 inches

Hiroya Kurata (b. 1980) Way Home, 2017

Hiroya Kurata (b. 1980)
Way Home, 2017
Oil on canvas, 24 x 24 inches

Hiroya Kurata (b. 1980) Summer Break, 2018

Hiroya Kurata (b. 1980)
Summer Break, 2018
Oil on canvas, 32 x 24 inches
SOLD

Matt Phillips (b. 1979) Untitled, 2018

Matt Phillips (b. 1979)
Untitled, 2018
Pigment and silica on linen, 30 x 24 inches

Matt Phillips (b. 1979) Gumtree, 2018

Matt Phillips (b. 1979)
Gumtree, 2018
Pigment and silica on linen, 30 x 24 inches

Esther Ruiz (b. 1986) White Sun, 2018

Esther Ruiz (b. 1986)
White Sun, 2018
Cement, neon, and hardware, 6 (H) x 6 (W) x 7 (D) inches
 

Esther Ruiz (b. 1986) Summer Landscape II, 2018

Esther Ruiz (b. 1986)
Summer Landscape II, 2018
Cement, Plexiglas, agate, and paint, 4 (H) x 3 (W) x 3 (D) inches

Esther Ruiz (b. 1986) Marine Layer, 2018

Esther Ruiz (b. 1986)
Marine Layer, 2018
Cement, Plexiglas, green quartz, and paint, 4 (H) x 3 (W) x 3 (D) inches

Esther Ruiz (b. 1986) Primrose Shadow, 2018

Esther Ruiz (b. 1986)
Primrose Shadow, 2018
Cement, Plexiglas, abalone, and paint, 4 (H) x 3 (W) x 3 (D) inches
 

Esther Ruiz (b. 1986) Hoth III, 2018

Esther Ruiz (b. 1986)
Hoth III, 2018
Cement, Plexiglas, agate, and paint, 4 (H) x 3 (W) x 3 (D) inches

Esther Ruiz (b. 1986) Rust Route, 2018

Esther Ruiz (b. 1986)
Rust Route, 2018
Cement, Plexiglas, and carnelian, 3 1/2 (H) x 3 (W) x 3 (D) inches

Esther Ruiz (b. 1986) Paradise II, 2018

Esther Ruiz (b. 1986)
Paradise II, 2018
Cement, Plexiglas, and paint, 4 (H) x 3 (W) x 3 (D) inches

Esther Ruiz (b. 1986) Enter Space III, 2018

Esther Ruiz (b. 1986)
Enter Space III, 2018
Cement, Plexiglas, howlite, and paint, 3 1/2 (H) x 3 (W) x 3 (D) inches

Esther Ruiz (b. 1986) Pale September, 2018

Esther Ruiz (b. 1986)
Pale September, 2018
Cement, Plexiglas, rhodonite, and paint, 3 1/2 (H) x 3 (W) x 3 (D) inches

Esther Ruiz (b. 1986) Blue Sun, 2013

Esther Ruiz (b. 1986)
Blue Sun, 2013
Cement, neon, and hardware, 6 1/2 (H) x 6 1/2 (W) x 7 (D) inches

Esther Ruiz (b. 1986) Untitled, 2015

Esther Ruiz (b. 1986)
Untitled, 2015
Cement, glass, and green marble, 7 (H) x 5 (W) x 5 (D) inches

Esther Ruiz (b. 1986) Blue Mood, 2018

Esther Ruiz (b. 1986)
Blue Mood, 2018
Cement, Acrylic, and bornite, 3 1/2 (H) x 3 (W) x 3 (D) inches

Esther Ruiz (b. 1986) Cosmetic, 2015

Esther Ruiz (b. 1986)
Cosmetic, 2015
Cement, rubber, geode, and paint, 4 1/2 (H) x 4 (W) x 4 (D) inches
SOLD

Esther Ruiz (b. 1986) Natural Rise, 2018

Esther Ruiz (b. 1986)
Natural Rise, 2018
Pigment, cement, glass, sand, and agate, 6 (H) x 4 (W) x 4 (D) inche

Esther Ruiz (b. 1986) Pink Hyperion, 2018

Esther Ruiz (b. 1986)
Pink Hyperion, 2018
Cement, Acrylic, and paint, 4 (H) x 3 (W) x 3 (D) inches

Esther Ruiz (b. 1986) Universal Thought, 2015

Esther Ruiz (b. 1986)
Universal Thought, 2015
Cement, neon, quartz, and hardware, 7 (H) x 6 (W) x 6 (D) inches

Esther Ruiz (b. 1986) Pink Plain, 2014

Esther Ruiz (b. 1986)
Pink Plain, 2014
Cement, glass, acrylic, and paint, 7 (H) x 6 (W) x 6 (D) inches

Devin Troy Strother (b. 1986) That National Geographic Shit: “Damn guuuuurl, we going back the motherland with paintings in hand, bitch where’s my tiger?!”, 2013

Devin Troy Strother (b. 1986)
That National Geographic Shit: “Damn guuuuurl, we going back the motherland with paintings in hand, bitch where’s my tiger?!”, 2013
Painter paper, acrylic, construction paper, and gouache on paper, 19 3/4 x 23 3/4 inches

Press Release

OPENING RECEPTION
Saturday, October 6, 2018, 6-8PM
RSVP only to rsvp@hollistaggart.com or 212.628.4000

Hollis Taggart is pleased to present Highlight: Chelsea, an exhibition of new and recent work by thirteen emerging and mid-career artists that together underscore the formal and conceptual diversity of contemporary practice. Highlight: Chelsea is guest curated by Paul Efstathiou and marks the gallery’s second collaboration with the independent curator, as it expands its contemporary program. The exhibition will include new work by William Buchina, Elizabeth Cooper, Corydon Cowansage, André Hemer, Hiroya Kurata, John Knuth, Matt Mignanelli, Matt Phillips, Esther Ruiz, Eric Shaw, and Devin Troy Strother, as well as recent works by Marcel Dzama and Brenda Goodman. Highlight: Chelsea emphasizes the featured artists’ distinct styles and approaches, while also creating dynamic aesthetic juxtapositions and parallels between them. Highlight: Chelsea will be on view from October 6 through 27, 2018.

“For me, Highlight: Chelsea is about creating a visually rich and compelling experience for visitors that translates into genuine interest in each artist’s individual practice. The initial impact of an exhibition—that instant feeling of awe—is essential to overcoming the uncertainty that someone might feel in the gallery environment or with contemporary art, generally, and instead inspiring inquisitiveness and connection with an artist or particular work,” said Efstathiou. “I’ve had the pleasure and opportunity to spend substantial time with the featured artists—in some cases the relationships date back many years—and I want visitors to come away with the same enthusiasm that I have for each of them, as well as an understanding of the complexity and variety of what’s happening in art today.”

In reflecting on contemporary practice, several themes emerge within the exhibition. As political and social clashes have increased and been further intensified by digital technologies and platforms, Surrealist sensibilities have re-emerged as an articulation of the current moment. William Buchina’s paintings, which pair disparate images and symbols, appear as strange and inscrutable dreamscapes that meld personal and collective experience, while Marcel Dzama’s whimsical anthropomorphic beings and objects harken to either a time lost or yet to come. In other instances, the social commentary and critique is more overt, as with the work of Devin Troy Strother, whose often humorous and provocative mixed-media pieces examine and illuminate the experience of race in the U.S.

Technology has itself become a fertile space for experimentation, as artists reconcile the ephemerality of the digital realm with the handmade processes of traditional art genres. The liminal space between analog and digital formats form the core of André Hemer’s practice, as he captures the language of the internet in his thickly-painted canvases. Eric Shaw’s complex abstract compositions are formed by layers of lines, colors, and shapes, first created on his smartphone and then laboriously reproduced on canvas in acrylic. In Corydon Cowansage’s abstract paintings, everyday objects such as bricks and blades of grass are re-scaled, patterned, and repeated, resembling in ways the lines of code that comprise our digital universe.

Abstraction also connects the works of Brenda Goodman, whose compositions suggest staring faces and twisted bodies as an evocation of emotion and human experience; Elizabeth Cooper, whose bright color contrasts and splattering and pouring techniques offer a contemporary reprisal of Abstract Expressionism; and Esther Ruiz, who marries organic materials with mass-produced plexiglass and neons to create sculptural objects that feel at once primal and futuristic.

Highlight: Chelsea offers an exciting opportunity to experience a wide range of artistic production, and to examine the singular approaches that artists are taking to common experience and ongoing formal dialogues,” said Hollis Taggart. “As the gallery continues to expand its contemporary program, we are particularly attuned to giving a platform and voice to emerging artists and those who have been under-represented in our cultural and artistic conversations. This is very much dovetails with Paul’s approach to making contemporary art accessible and inviting to wide range of audiences, and we are enthusiastic about our ongoing collaboration with him.”

Brief biographies for each of the participating artists follow below:

William Buchina’s acrylic and ink paintings incorporate images and symbols from a wide and disparate range of sources. Together, they form absurd and eerie dreamscapes that concurrently suggest and obscure social and political commentaries. Characterized by a graphic quality and rich use of color, the paintings draw the viewer into Buchina’s strange and compelling worlds.

Elizabeth Cooper’s paintings draw on the language of Abstract Expressionism, as she pours, splashes, and splatters her multi-colored oil paints atop swaths of flat monochromatic color fields. Although referential to the past, Cooper’s keen eye for color contrasts and use of neons and pastels make her canvases appear more like contemporary advertisements, with an engaging freshness and vibrancy.

Corydon Cowansage takes inspiration from the subtle details of everyday life, from architectural forms to blades of grass. These referents become the basis for the creation of richly-colored, highly-patterned abstract compositions that bely their origins. Playing with scale, line, and repetition, Cowansage creates works that captivate and deceive the eye.

Marcel Dzama’s work, which often features anthropomorphic beings and objects, is characterized by a sense of whimsy and fantasy that recalls the visual language of Surrealism. While he is best known for his drawings and paintings, rendered in muted tones, the artist has, in recent years, expanded his practice to encompass sculpture and film, bringing his otherworldly beings into the three-dimensional realm.

Brenda Goodman’s work challenges the boundaries between figuration and abstraction, as she creates formal compositions that evoke staring faces, twisted bodies, and convoluted interiors. Her lush paintings, which vary widely in scale, are particularly concerned with the experience of surface and texture, as the embodiments of human emotion and sensation.

André Hemer fuses analog and digital techniques and approaches in his practice, introducing the language of the internet into his rich and painterly surfaces. In this way, Hemer works to reconcile the physicality of the canvas and paint with the ephemerality of digital images, scans, and codes, creating a new space that lives in between.

Hiroya Kurata’s paintings combine representations of found imagery with those of personal remembrances, creating scenes that feel at once familiar and strangely disconcerting. Referencing the visual language of cartoons and landscape paintings, Kurata explores the conception and emotion of nostalgia.

John Knuth investigates the relationship between nature and humanity, emphasizing in particular the impact our actions have on the environment. Using humble and unexpected materials, including distress flares, fly regurgitation, and stretched reflective mylar, Knuth creates poignant metaphors and associations that reflect on the changing environment and what those transformations mean for the future.

Matt Mignanelli’s paintings explore the tension between expressionistic, painterly brushstrokes and the geometric precision of urban plans and architectural forms. Appearing almost as duos, with one side capturing a strict repetition of line and the other freedom of gesture, the works suggest an untenable divide, as the two aspects begin to meld at the center and are connected by the use of deep, saturated color.

Matt Phillips’s softly-colored abstract compositions draw inspiration from a range of sources, including maps, quilts, and architectural forms, and develop organically as he moves across the canvas. Using his self-created water-based paint, Phillips melds the boundaries between color and canvas, as the paint absorbs deeply into the canvas uniting them.

Esther Ruiz’s sculptures explore natural phenomena, pop culture, and the fictional landscapes of the future. Interested in the flashy but dilapidated aesthetic of sci-fi movies of the 1980s and ‘90s, Ruiz’s work marries organic materials such as stone and geodes with mass-produced plexiglass and neon. The result is an object that feels at once grounded in the primal and shaped by the future. 

Eric Shaw merges digital technologies with handmade processes, creating his abstract compositions first on a smartphone app and then translating them by hand onto the canvas in acrylic paint. This work is then photographed and reworked further on his phone, resulting in a canvas that has several complex layers of line, shape, and color. This visual intricacy is further amplified by a strategic use of glossy and matte paints to create a dynamic sense of depth.

Devin Troy Strother’s distinctive practice merges the formal vocabularies of painting, collage, assemblage, and sculpture. Never one to shy away from the outrageous and provocative, Strother’s work dares his viewers to enter his madcap narratives, as he plays on and critiques issues related to race and the art historical canon through both figurative and abstract works, on canvas and in three-dimensional space.

For more information about Highlight: Chelsea, please contact us at info@hollistaggart.com or 212.628.4000.
For press inquiries, please contact Alina Sumajin or Sascha Freudenheim, PAVE Communications & Consulting at alina@paveconsult.com, 646.369.2050 or sascha@paveconsult.com, 917.544.6057.