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2014.6.5 - 2014.7.17


H E L L O,  S U M M E R !

6.5 - 7.17, 2014


Elements of Kim Dong Yoo's series call to mind the work of both Andy Warhol and Chuck Close. Also interesting, according to the gallery, is the fact that another artist by the name of Alex Goufeng Cao has recently begun displaying work using the same visual concept, though his pieces are rendered digitally. Hasted Kraeutler notes the similarities bring up questions of derivation and new creation—ongoing issues in the modern art world—but rather than taking legal action, Joseph Kraeutler says, "We just want people to understand the concept began as Kim Dong Yoo's."
When Kim Dong Yoo himself is asked what he hopes people will take away from the show, the artist responds: "I find joy in the fact that my work balances both grid-like elements, which call to mind the digital world, and an analogical technique—drawing every pixel by hand. And while these components coexist in my work, I want viewers to also see both the visual and emotional harmony and the competition between the two figures—Marilyn and JFK, for example—in every piece. But, at the same time, the thoughts the viewers have when they see the works will be colored by their own distinctive feelings regarding the format and the personalities involved."

Bae Joonsung (born 1967 Kwangju, Korea) continues his highly acclaimed series ‘The Costume of the Painter’ in his first solo exhibition in the UK to be held throughout March 2014. Selected works can be previewed at ART14 in London 28 February – 2 March.
In his appropriation of old master paintings or scenes in a Museum setting, Bae Joonsung explores the interplay between his two chosen media – oil painting and photographic lenticular imagery. Since 2006, Bae’s introduction of lenticular lens within his paintings has made for a spectacular and effortless viewing experience. The unexpected reveal of Asian female nudes and the voyeuristic juxtaposition of viewer and viewed are themes exquisitely portrayed and encourage us to find a new way of looking at art.


Lee’s art form might be considered excessive for it connects to what is outside of what can be known and is sensed through explorative forms of speculation and behavior. Lee tries to promote the radical alterity in which the potential of the unknown is acknowledged as productive forces. Through his hyper-cyber patchwork of images and stories, Lee, in his own way, revives and revisits this spiritual artistic tradition that constantly questions our histories, frustrations and desires.   
-Cristina Ricupero (Curator/Artist)

Korean contemporary artists, Kang So Lee gained his fame through his paintings of “ducks.” He graduated form Seoul University, Korea and worked as a guest professor of State University of New York, Albany. Practicing experimental representation of subject matters, he also tried to define his artistic style via new and various ways. His artistic scope and language were thus developed in a unique way in which experimentation and diversity were emphasized. He held countless exhibitions throughout the world and always managed to introduce the viewers to his distinctive and innovative artistic world, emerging as an epitome of Korean contemporary artists. The photography part of this “dream” exhibition includes images of traditional Korean houses and of Tibet, China. In photographs of old houses, thresholds, and hand rails where traces of humanity are long gone, eccentricity and intimacy can both be discovered. This duality of reality and metaphorical nature of scenery takes us far beyond usual boundaries and into the artist’s subconscious. In other words, these collections of photographs reinforce Kang So Lee’s recurring theme of “expecting a world beyond the reality and its boundaries.” 
In Kang So Lee’s paintings and ceramics, his perpetual goal of finding the “unknown abstract” is apparent as well as his contemplation of nature and line. Through his works in which the known and the unknown, the reality and abstract converge, the viewers will witness the lingering imagery of the artist’s world and will expect and aspire for more enlightenment, for more experience of the trans-reality.
Active in Korea and Germany since 2001 Yue works in photography and sculpture, using light to systemize senses and feelings. His work appears nature-friendly and meditative. In works on display cityscapes longing for nature in condensed composition feature the woods and a city, symbolic of the artificial. The artist breaks down psychological boundaries between city and nature, dividing the city with the woods. He enables viewers to share green images and feel a sense of comfort within the greatness of nature. 

It isn't reality as such which interests Jung-Yeun Jang, but her image; that means her fictive re-presentation. We know that the particular details shown in these works are of less importance than the photographic sources. This is not done innocently. Jang possesses an acute awareness of the intrusiveness of photography in the mediation of all images in this moment. (Bernard Marcadé)

After studying painting at Hongik University and its graduate school, Choi went to the United States and graduated from the State University of New York. He presently serves as a professor of painting at Hongik University. Choi is the recipient of numerous prizes and awards, including the grand prize at the Joong-Ang Art Exhibition in 1992, the grand prize at Hankook Ilbo Young Artist Exhibition in 1996, the Minister of Culture and Tourism Award in 2002, and the Ha Chong-Hyun Art Award in 2003. He gained and international as well as domestic reputation through his many artistic activities.
Choi has consistently pursued change through a tireless researching attitude. His work can be divided into three main periods: the first (1989-1995), the age of physical properties; the second (1996-2002), the age of signs; and the third, is presently ongoing. Works to be exhibited at this show are all oil paintings, extended his previous works. In these works, brimming with liveliness, his canvas is freely composed, constructed, and even apparently destroyed, by his independent use of brushwork. While his past work was made up of horizontal and vertical color areas, these works show more evolved ‘scenic abstractions’.
An exquisitely harmonious space is in his work revealing races within minute layers.  There in Museum Interior, Choi draws a realistic figurative world to his canvas, and turns it to a more liberal structure, showing a more obvious realistic form.  Images imbued with the refined light of colors run through the canvas without reserve. In his work, each abstract element becomes a realistic object by being placed in the space of a visible world.
What’s also noticeable is Choi draws in a sense of realism through an abstract eye, and makes this part of the visible world, for the formative beauty of the real world. We may have a unique experience through his work therefore, with it encapsulating his logical thought. 

Born in 1969 in Seoul, Hong Sungchul completed an M.F.A and B.F.A in sculpture at Hongik University in Seoul before finishing another M.F.A in Integrated Media at California Institute of the Arts.
Hong Sungchul is an artist who embraces modern technologies and various media within his work. The concept of the current body of work has evolved from an earlier stage of his career. His use of numerous staggered elastic strings upon which the imagery is printed, communicates his unique concept of visual consciousness. The broken images interlace and transform to reveal a final image, incomplete until the dynamic interaction of the viewer. Through these engaging three-dimensional works Hong Sungchul attempts to unveil the virtual object through his use of distorted and fragmented imagery resulting in stunning visual effects.
The American artist Brian Alfred (b. 1974) is best known for paintings, collages and animations which examine the ways in which perception of our surroundings and culture is mediated by technology. His works present a flattened, depopulated and predominantly urban world derived from found images. His thematic concerns - including the signifiers of Modernist idealism and technological progress, conspiracy theories and the growing prevalence of surveillance in the post-9/11 world - have led him to focus on images featuring architecture, machinery, interiors and urban landscapes. However, he has also explored ways in which to recalibrate the cliched tropes of romanticism - a sunset, cherry blossom or a shooting star - for the twenty-first century. The world as depicted by Alfred is distanced, banal yet highly charged with possible meanings. 

Michael Craig-Martin was born in Dublin in 1941 and educated in the United States, studying fine art at Yale University. He returned to Europe in the mid-1960s, becoming one of the key figures in the first generation of British conceptual artists. He was a professor at Goldsmith's College from 1974-1988 and 1994-2000, where he remained a powerful influence on the emerging British artists.
His early work made deliberate reference to the American artists he most admired, such as Donald Judd, Jasper Johns and Robert Morris. Although he was particularly affected by Minimalism and used ordinary household materials in his sculptures, playing against the logic of his sources. In the early 1970s, he exhibited his now seminal piece An Oak Tree, consisting of a glass of water standing on a shelf attached to the gallery wall. In the accompanying text, he asked himself questions to assert that the glass was in fact an oak tree. Craig-Martin continued working in various forms, always maintaining an elegant restraint and conceptual clarity. During the 1990s the focus of his work shifted decisively to painting, with the same range of boldly outlined motifs and luridly vivid colour schemes in unexpected (and at times apparently arbitrary) combinations applied both to works on canvas, and to increasingly complex installations of wall paintings.

Nicholas Bodde paints on aluminium plates by successive coats of painting that he applies with different utensils to finally obtain a result that imprints itself the retina of the eye. The game of colourful stripes, more or less large, sometimes with the feeling of the brush, sometimes flat, reflects the light differently on each lap. The brightness of his palette, a wilful choice, accentuates the vitality that emanates from this painting. His works hesitates between the vibrating and nearly irritating colours and the calm of a monastic construction.
Painting work by Nicholas Bodde is composed of colored horizontal lines in different heights, which makes a harmonized structure. The work doesn't show a specific image but abundant colors and expression of paints themselves provide abstract experience in depth to the audience. 
People's eyes and heads unconsciously follow the horizontal lines from left to right so that they can 'read' lines and colors on painting as reading a book. A progress of composition makes rich visual images. 
Bodde's work gives a different feeling in terms of a distance of viewing. When seeing in a long distance, the work looks like a structural-geometry construction, but in the opposite case, people can notice that the artist's main purpose is drawing, not structure or building. His work with researching use and value of color in a fixed structure suggests variety and more strictness for his art world.


Sanné Mestrom’s work with objects often involves invisible forces, references to art and cultural history, and explorations of the psychological or emotional significance attributed to objects. Her recent sculptural installations have included a mix of found objects, casts and copies, bringing the context and meaning of objects and materials into play.* 
* Rosemary Forde, Pretty Air and Useful Things, catalogue essay, Monash University Museum of Art, 2012
Sanné Mestrom typically deploys emblems of modernist art and design to inform her materially-driven practice. Her work traverses various media from installations exploring our experience of space, to conceptual text works, photography, and more recently, experiments with craft-inspired forms such as tapestry and ceramics. With each approach the instability of perception, meaning and the relationships between them remains central to her work.

Jude Tallichet lives and works in Queens, NY. She is represented by Sara Meltzer Gallery in New York City, where she has had six solo exhibitions since 2000 .She has exhibited nationally and internationally in venues such as the Konsthallen in Gothenburg, Sweden, The Shanghai Biennial in China, The Busan Biennial in Korea, The Tirana Biennial in Albania, the “Officina America” exhibition in Bologna, Italy, and at Periogi Gallery in Liepzig, Germany. She participated in the inaugural Greater New York Show at PS1 MOMA, the “Treble” exhibition at Sculpture Center, and the “Brooklyn Next” exhibition at the Brooklyn Museum of Art. She has had solo shows at the Santa Barbara Contemporary Arts Forum and the Burnet Gallery in Minneapolis, Minnesota. She was a featured performer in the Iron Artist Event at PS 1 MOMA, organized by Cabinet Magazine. Jude spent a year in Brazil as a Senior Fullbright Fellow in 1996 and has received fellowship grants in sculpture from the National Endowment for the Arts (1990) and from the New York Foundation for the Arts. (2001) She has received residencies at the MacDowell Colony, the Millay Colony and at the Civitella Ranieri Center in Umbertide, Italy. She is Professor and chair of the Sculpture Department at the Tyler School of Art, where she has taught since 1987. Jude was a founding member of the rock band Ultra Vulva and has collaborated on video and performance projects with a diverse collection of artists and musicians, including Jeanine Antoni, Kristin Lucas, Doug Henderson, John Harbison and Henry Threadgill.

My work is not glamorous yet it is ambitious in its feeling. It seeks a visceral, bodily, material "explanation" for human desire writ large in human action.
Like the African shaman who chews his pepper seeds and spits seven times into the air, I believe art re-ritualizes the everyday to reveal something fresh about our lives. This revelation is a vitality and it is a power to change the world.
-William Pope L.

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