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Gerald Ferguson creates process-based paintings where the final artwork emerges from humble materials and methods rather than formal intentions. In his recent show, Ferguson used steel chains to frottage canvas drop cloths that had been used by housepainters, creating intricate abstract patterns. The works demonstrate how Ferguson continues to produce visually complex paintings through simple means.
This summary provides an overview of the key points in the document:
Gerald Ferguson creates process-based paintings where the final artwork emerges from humble materials and methods rather than formal intentions. In his recent show, Ferguson used steel chains to frottage canvas drop cloths that had been used by housepainters, creating intricate abstract patterns. The works demonstrate how Ferguson continues to produce visually complex paintings through simple means.
This summary provides an overview of the key points in the document:
Gerald Ferguson creates process-based paintings where the final artwork emerges from humble materials and methods rather than formal intentions. In his recent show, Ferguson used steel chains to frottage canvas drop cloths that had been used by housepainters, creating intricate abstract patterns. The works demonstrate how Ferguson continues to produce visually complex paintings through simple means.
Reid's watercoiors seem to result more from physical process than formal intent; she lets gravity and other properties of the medium play a major role. In this way, she arrives at a relaxed, organic inter- pretation of Minimalist form. Meiissa E. Feidman TORONTO Gerald Ferguson at Wynick/Tuck Gerald Ferguson is perhaps best known to Canadian art viewers for his 7,000,000 Grapes instal- lation at the National Gallery of Canada in 2000. In that work the artist designed a stencil of 40 grapes, borrowing the composi- tion of the fruit from the still life that appears in Picasso's Les Demoiselles d'Avignon. Using a roller and black enamel paint, the stencil was applied 250 times on each of a hundred 48-inch-square canvases. The individual paintings are almost Gerald Ferguson; A/o. 2, 2002. enamel on drop Cloth, 78 by S2 Inches; at Wynick/Tuck. entirely black, except for the occasional small bit of raw oan- vas. Hung on the wall in a grid, the paintings resemble a starry night skythe gorgeous and serendipitous result of a very mechanical process. In his recent show at Wynick/ Tuck, Ferguson continues to develop his unique brand of process painting in which beauty is the by-product of banal, anti- vtrtuosic means. In 11 new paintings (all 2003), rather than using a stencil, the artist frot- taged a length of 2-inch welded steel chain by placing it under a canvas in various positions and passing over the top with a roller and black paint. Instead of plain canvas, Ferguson employed fabric drop cloths that had been used by housepainters. With their spills and marks, the drop cloths were themselves ready-made paintings. In the beautiful, opportune "collabora- tions," Ferguson simply adds his signature with the frottaged chain. The drop cloth in No. 2 {78 by 92 inches), an old sheet, is pat- terned with small, yellow flowers. Brilliant pink and blue splotches of paint punctuate the surface. Ferguson laid a length of the 2- inch chain under this sheet in even rows. The result is an intri- cate, abstract pattern of thou- sands of aggressive dashes. No. 17 {80 by 92 inches) is made on a white drop cloth bearing four black, square outlines in a row across the top and black paint spills at the bottom right and top left. The chain marks are less dense than in No. 2; there is only a delicate pat- tern of thin, black vertical lines over the surface. No. 27(59 by 53 inch- es) is one of the more spare compositions. A cream-colored cloth is frottaged with thin black lines. There are only three interruptions to the otherwise airy com- position: a thick red line cuts through the middle of the canvas; a thinner black line enters from the bottom right; and a black L shape, tilted slightly to the left, appears near the top. In these new works, Ferguson continues to create visually complex paintings using the most humble of materi- als and processes. Melissa Kuntz OXFORD Mike Nelson at the Modem Art Museum British artist Mike Nelson has made his name as the king of sal- vage installation. This magpie fre- quenter of flea markets and thrift stores utilizes everything from reclaimed doors to discarded tele- phones and broken toys to create his disorienting, space-devouring works. Unlike previous Nelson adventures, notably in the Venice Biennale and Turner Prize exhibi- tions of 2001, his latest show was not one ail-encompassing environ- ment but a show in three acts, hence the (punning) title, 'Triple Bluff Canyon." First came a disheveled cinema foyer with boarded-up box office and dog-eared posters for Alien, an inauspicious no-man's-land of a beginning with three numbered doors urging the visitor to choose his or her own multiplex destiny. Just one of the exits worked, but only to reveal the unpainted wooden structure ot the false lobby. Nelson's first "bluff" being a film set of a cinema. Further on, the next space again took us behind the scenes, this time to the artist's front-room-cum- studio in South London, which he re-created right up to the ceiling rose. This was not the first time Nelson displayed his studio as a set within an exhibition, but here one was not granted entrance and could merely peer into the installa- tion through the glassless window bays. This shift from total immer- sion to theatrical distance sug- gests Nelson wants the act of viewing to be as important as any phenomenological concerns. A projector on a table in the room bounced a film off a convex mirror and back to the gallery wall, but this was no cinematic experience. Instead, a little-known U.S. con- spiracy theorist named Jordan Maxwell ranted on about the Knights Templar and the llluminati, claiming that these groups had been plotting a New World Order with roots in ancient Egypt. As if on cue, the next installation offered a giant pyramidal sand dune. A rickety, narrowing wooden corridor that resembled a disused mineshatt seemed to offer a pas- sage through the tons of sand but culminated in a Nelson trademark: a dead end lit by a naked lightbulb. With no way through, the viewer was forced to retrace the path back to the ground-floor information desk and up a flight of stairs to the muse- um's first floor, where the partially submerged wooden structure was visible in a sea of sand. The image paid homage to Robert Smithson's Partially Buried Woodstied{1970), built at Kent State University, in which earth was piled onto an exist- ing structure until the central beam cracked. The exhibition catalogue highlights the connection between Smithson's work, which was politi- cized after student demonstrators were killed on campus months later, and Nelson's desert remake, which included discarded oil drums referencing the Iraq war and occu- pation. However, there is another link between the two artists. Smithson lamented the stale View of Mike Nelson's installation "Triple Bluff Canyon," 2004; at the Modern Art Museum. atmosphere of the gallery ("muse- ums are tombs," he onoe wrote) and so took his work outside, while Nelson goes some way to reinvigo- rating the museum with works of art that suggestively transport the out- side world into the white cube. Ossian Ward PARIS Jennifer Allora and Guillermo Calzadilla at Chantai Crousel "Ciclonismo," a term invented by this artist team, is the study of the effect of natural phenomena, such as cyclones, on social movements in the Caribbean. "Histories of power, colonization, and cross- cultural exchanges can be told through wind routes," explains the Jennifer Allora & Guillermo Calzadilla: The Nature of Conflict, 2004, used motor oii, water, mixed mediums; at Chantai Crousel. 189
Joshua Reynolds's "Nice Chymistry": Action and Accident in The 1770s Author(s) : Matthew C. Hunter Source: The Art Bulletin, March 2015, Vol. 97, No. 1 (March 2015), Pp. 58-76 Published By: CAA