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Olivier Mosset and Paul Lee

NEW YORK -- Tyler Wood Gallery is pleased to present a painting by Olivier Mosset from 2011 and new works by Paul Lee.
 
As a member of BMPT (Buren, Mosset, Parmentier, Toroni) in Paris in the 1960’s, Olivier Mosset appropriated the visual language of signage. He recognized not only the power of association of specific geometric shapes but also that signs, of course, signify. They convey visual information. In a capitalist society that information has to do with value.
 
Mosset’s paintings are signs of wealth. Their value is in direct relation to their context—the gallery, the museum, the home. His works are Trojan horses that question the economic underpinnings of their context.
 
Paul Lee’s works are more about removal than insertion. He chooses readymade objects—a tambourine, a pencil, for example—and places them on the plane of a painting. Pictorializing them he removes them from the world allowing the tambourine to cut itself in half to become crescent and the pencil to become line. No longer tambourines and pencils they are images of tambourines and pencils.
 
The readymades are universal objects that relate to the body, specifically the hand. Any hand can play the tambourine and make marks with a pencil. They are highly democratic.
 
Lee’s works are catharses. As a gay man from a working class family his works are a rerouting and queering of the status quo. The works are images of Lee’s hand touching a tambourine and pencil. They are images of desire fulfilled.

Olivier Mosset was born in 1944 in Bern, Switzerland. Mosset’s work has been featured in several solo and group exhibitions. Recent solo museum exhibitions include Musée de Beaux-Arts La Chaux-de-Fonds, Switzerland (1985); Centre d’Art Contemporain, France (1985); “Olivier Mosset 65–85,” Musée Sainte-Croix, France (1985); Centre d’Art Contemporain, Geneva (1986); Musée Saint Pierre Art Contemporain, Lyon (1987); “Arbeiten/travaux/works 1966–2003,” Musée Cantonal des Beaux-Arts de Lausanne, Switzerland (2003); “Windows,” Palais de Tokyo, Paris (2006); Museo d’Arte di Mendrisio, Switzerland (2009); “A step backwards,” Musée d'art contemporain de Lyon, France (2010); “Leaving the Museum,” Kunsthalle Zürich, Switzerland (2012); “Sous apparence,” Opéra national de Paris, Palais Garnier, Paris (2012); “Fakes, fêlures and walls,” Musée Régional d'Art Contemporain Languedoc-Roussilon à Sérignan, France (2013). Mosset currently lives and works in Tuscon, Arizona.

Paul Lee (b. 1974, London) is a New York-based sculptor, collagist, and video artist who crafts assemblages from used domestic and everyday objects, including dyed terry cloth towels, tambourines, and empty soda cans.

His recent exhibitions include JTT Gallery, New York (2021); Adams and Ollman, Portland, Oregon (2021); Halsey Mckay Gallery, East Hampton (2020); Karma, New York (2019); David Shelton Gallery, Houston (2018); Modern Art, London (2018); Michael Lett, New Zealand (2017); Jeffrey Stark, New York (2016); Maccarone, Los Angeles (2016); Untilthen, Paris (2015); and University of the Arts, Philadelphia (2015). Paul Lee’s work is represented in the Chinati Foundation, Marfa, Texas; Dallas Museum of Art; Government Art Collection (GAC), United Kingdom; M+, Hong Kong; Portland Art Museum, Oregon; RISD Museum, Providence, Rhode Island; Rubell Family Collection, Miami; and San Antonio Museum of Art, Texas, among others.

Kelley Walker and Gaspar Willmann

Tyler Wood Gallery | May 6 – June 10

NEW YORK -- Gaspar Willmann layers a single digital image. Each painting in his JUMAP series comes from a single file in Photoshop. That file has hundreds of layers. JUMAP stands for ‘juste une mise au point’ or ‘just a focusing’ that references a 1983 song Mise au Point by Jakie Quartz with the lines ‘juste une mise au point sur les plus belles images de ma vie’ or ‘just a focusing on the most beautiful images of my life.’

Each final composition includes found images of a Romantic character—a beautiful sunset, flowers, a body of water. Willmann covers these images with images from his own life—a bottomless well of images of memories to such an extent it becomes representative of a collective memory of the quotidian.Covering Romantic images with the daily he critically questions not only how  Romanticism was used in the past but its use today. Can the image of a beautiful sunset posted on social media be insidious or is it only sublime?  Having printed the final composition on canvas Willmann paints with oil on top. Snapping back to art history it is a self-reflexive, tongue-in-cheek gesture that questions not only that file in Photoshop but also painting itself.

Gaspar Willmann (born 1995, Paris, France) lives and works in Paris. Through his practice of video, installation and painting, Willmann grabs everyday objects, forms and images, mobilizes collective representatives and behaviors to question their circulation and issues in the context of a technocratic society which acts on affects. Graduating from Ecole Nationale Supérieure des Beaux-Art de Lyon (2019), Gaspar presented his work at the Fondation d’Entreprise Ricard (Paris, 2019) and at Divan Orange (Montréal, 2018). Winner of the Prix de Paris (2019), he was in residence at the Cité Internationale des Arts (Paris, 2020).

Janna Ireland

Milk and Honey

Tyler Wood Gallery | May 9 – June 25

NEW YORK -- Tyler Wood Gallery is pleased to present new and recent works by Janna Ireland.

what do we see when we look at a marriage?

when we look at a family?

when we look at a home?

we see workers. worker bees.

self-maintenance.

child care.

interior maintenance and decoration.

food preparation.

exterior maintenance and decoration.

social responsibilities outside the immediate family.

when things fall

and break.

who picks up the pieces?

who cleans up the mess?

fertility gives family.

cracking the egg.

family creates an economy.

an economy of milk and honey.

Janna Ireland (she/her) was born in Philadelphia, but has chosen Los Angeles as her home. She holds an MFA from the UCLA Department of Art and a BFA from the Department of Photography and Imaging at NYU. Her work has been shown in solo and group exhibitions across the United States and internationally, and is held in the collections of institutions including the Los Angeles County Museum of Art, the California African American Museum, and the Santa Barbara Museum of Art.

Ireland often uses herself and her family in her personal and editorial work. In recent years, her practice has expanded to include architectural photography. In 2016, she began photographing structures designed by legendary Black architect Paul R. Williams. A collection of 250 of these photographs was published in a monograph entitled Regarding Paul R. Williams: A Photographer's View, in 2020. In 2021, Ireland was awarded a Peter E. Pool Research Fellowship by the Nevada Museum of Art to photograph Williams' work in Nevada. In 2022, this work will be the subject of solo exhibitions at the Nevada Museum of Art in Reno and the Nevada State Museum in Las Vegas.

For more information please contact the gallery: info@tylerwoodgallery.com

John Dante Bianchi

Positive Disintegration

Tyler Wood Gallery | February 11 – March 12

Opening Reception: February 11 | 6–8pm

NEW YORK -- Tyler Wood Gallery is pleased to present new and recent works by John Dante Bianchi.

The show, titled Positive Disintegration, is a continuation of Bianchi’s investigation into physical and mental trauma through abstract painting and sculpture, a body of work the artist has been evolving in Detroit, MI and Brooklyn, NY over the last two years.

The Healing Panels, central to Bianchi’s practice, are refinements to his specific sculptural painting process. They are simultaneously bright and cool, inviting and foreboding, the reflections of bruises and breaks in the flesh. The surfaces are built up in thin layers then excavated, unearthing previous layers of paint and revealing the polished and patinated aluminum.

I aim to re-contextualize bodily and psychic trauma as an opportunity for regeneration and growth, breaking down existing forms to make way for the creation of new ones. On the surface of the works, archeological emergence and alchemical transformation act as metaphors for the re-integration of the fractured self by addressing the multiplicity of conflicting ideas we embody.

--John Dante Bianchi, February, 2022

A group of new sculptures references the Orphic Egg, the primordial seed that gave birth to the Greek deities Phanes and Protogonus. The opposite sides of the eggs, which Bianchi has rendered as human brains, represent a quarrel between the higher cortex and the older limbic, reptilian brain. The works reflect on the integration of the unconscious and conscious minds—the core goal of Carl Jung’s individuation process. Jung said, “It is a most painful procedure to tear off those veils, but each step forward in psychological development means just that, the tearing off of a new veil.”

John Dante Bianchi (b. Nashua, New Hampshire) received his BFA from Cooper Union and his MFA from Yale University. He lives and works in Brooklyn, New York. He has exhibited at Galerie Derouillon in Paris, Tyler Wood Gallery in San Francisco and New York, Denny Gallery in New York, Thierry Goldberg Gallery in New York, Signal Gallery in Brooklyn, Kai Matsumiya in New York, Wasserman Projects in Detroit and David Zwirner in New York. He has received press coverage in The New York Times, Art Forum, Architectural Digest, Observer, VICE’s The Creators Project, ARTNEWS, Interview Magazine, BOMB Magazine, and Blouin Artinfo.

For more information please contact the gallery: info@tylerwoodgallery.com

Martin Lukáč

Tyler Wood Gallery | September 18 – November 20

Opening Reception: Saturday, September 18 | 6–8pm

NEW YORK -- Tyler Wood Gallery is pleased to present new paintings by Prague-based artist Martin Lukáč.

This is the first exhibition in the gallery’s new space at 526 West 26th St Suite 803.

Lukáč appropriates images of mass entertainment and art history. Playfully combining them he simultaneously pays tribute to and subverts the images to create his own brand of art as seen in his signature cum logo: ML.

Lukáč, for example, appropriated the images of the Teenage Muitant Ninja Turtles. Named Leonardo, Raphael, Donatello and Michelangelo, in an art context they are stand-ins for the Renaissance masters. Lukáč often portrayed the profiles of the four turtles in a grid. In other paintings he created expressive abstract forms also within a grid. Linking early masters of figurative art with a 20thcentury abstraction is a good way to start thinking about Lukáč’s work.

In the current series in the gallery he links the early figuration and abstract expressionism of Jackson Pollock with the Neo-expressionism of Jean-Michel Basquiat via printmaking.

Pollock was interested in European artists’ interest in the unconscious. Via the psychoanalyst Carl Jung, more specifically Pollock was interested in tapping the unconscious to produce archetypal images. Intrigued by the archetypal images of Native Americans several of his paintings of the 1940’s refer to totems. Lukáč recently produced a series of paintings called Totems.

Lukáč drew with charcoal his own archetypal image which he made into a lithograph then digitally scanned to print onto the linen of the four paintings in the exhibition.

Basquiat painted archetypal images of man. He often did so successfully using black, red and yellow. Lukáč appropriates these colors for his current series. His archetypal image is also skeletal like Basquiat’s figures.

Martin Lukáč (born 1989, Piešťany, Slovakia) is a painter currently living and working in Prague. Selected exhibitions include: Kunsthalle Košice, (Slovakia, 2021), Shattered Speech, Grove Collective (London, UK, 2021), NOSZTRÓMO, ASHES/ASHES (New York, NY, 2019) I Ain’t Though, Kunstraum Ortloff (Leipzig, DE, 2019) Interpreter‘s Booth, Chimera-Project Gallery (Budapest, HU, 2018). Lukáč was also the recipient of the La Brea Studio Residency (Los Angeles, CA, 2019).

For more information please contact the gallery: info@tylerwoodgallery.com

A Photograph by Jack Pierson and Paintings

by Cynthia Daignault and Chason Matthams

Tyler Wood Gallery   |   November 1 - December 7

Opening Reception: Friday, November 1  |  6–8pm

NEW YORK: Tyler Wood Gallery is pleased to present a three-person exhibition with works by Jack Pierson, Cynthia Daignault and Chason Matthams.

i wanted a photograph of nature by Jack Pierson.

i sent an image of this photograph to Cynthia Daignault and Chason Matthams asking for paintings in response.

Jack Pierson: Pierson was born in 1960 in Plymouth, Massachusetts, and graduated from the Massachusetts College of Art in Boston in 1984. He lives and works in New York. Pierson has had recent solo exhibitions at the CAC Malaga, the Irish Museum of Modern Art, Dublin and the Aspen Art Museum. His work is in the collections of the Metropolitan Museum of Art, the Whitney Museum of American Art, the Solomon R. Guggenheim Museum, the Museum of Contemporary Art, Los Angeles and the San Francisco Museum of Modern Art, among other museums worldwide.

Cynthia Daignault: Daignault was born in 1978 in Baltimore, Maryland, and received a BA in Art and Art History from Stanford University. She has presented solo exhibitions and projects at many major museums and galler­ies, including the Metropolitan Museum of Art, the Crystal Bridges Museum of American Art, MASS MoCA, the Modern Art Museum of Fort Worth, the Brooklyn Museum of Art, and White Columns. Her work is in numerous public collections including the Metropolitan Museum of Art, the Blanton Museum of Art, and the Baltimore Museum of Art. Daignault is a regularly published author, and her writings have been published in a range of publications. She is the recipient of numerous awards, including a 2019 Pollock-Krasner Foundation Grant, a 2016 Foundation for the Contemporary Arts Award, a 2011 Rema Hort Foundation Award, and a 2010 Macdowell Colony Fellowship. She lives and works in Baltimore, Maryland.

Chason Matthams: Matthams was born in 1981 in Pacific Grove, California, and lives and works in New York, NY. He received an MFA and a BFA from New York University. Matthams has had one-person exhibitions at Thierry Goldberg Gallery and Tyler Wood Gallery and has participated in group shows at Interstate Projects (Brooklyn, NY), Launch F18 (New York, NY), and Danese Corey (New York, NY), among others.

For more information please contact the gallery: info@tylerwoodgallery.com

Zhiyuan Wang

Recent Paintings

Tyler Wood Gallery   |   September 7 – October 26

Opening Reception: Saturday, September 7  |  6–8pm

NEW YORK: Tyler Wood Gallery is pleased to present an exhibition of recent paintings by Zhiyuan Wang at the gallery’s new location at 109 West 10th Street in the West Village.

Wang is interested in the edges of a painting.

Painting abstractly he uses line, color and gloss/ matte.

Within the two larger paintings are straight-edge lines: a horizontal line made with pencil, a square made with pencil, a V-shape made with a metal tool, the sides of tape beneath layers of paint.

None of these lines touch the lines of the edges of the paintings.

Wang is creating a relationship between the straight-edge lines within each painting and its edges.

It suggests that he's exteriorizing, that is, he's open to the different ways of making abstract painting and the history of abstract painting.

He also brings attention to the edges of the paintings with color.

For the larger paintings he uses interference color, derived from seashells, that splits the ray of light going through the crystal of the pigment at 90 degrees from each other.

Moving from one edge of the painting to the other the color you saw disappears.

For the smaller paintings Wang uses iridescent color, which shows several hues when changing the angle of observation from one side of the painting to the other.

He also uses gloss to cover both sheets of a diptych of painting on paper. Isolating each painting within its four edges, the gloss creates a relationship between interior and exterior.

Zhiyuan Wang was born in Hebei, China in 1990, and currently lives and works in

Beijing. He received his MFA from San Francisco Art Institute in 2015, and BFA from

China Academy of Art in HangZhou, China in 2013. Zhiyuan’s recent exhibitions and

residencies include OCT Boxes Art Museum residency, Guangdong, China (2019);

“Jungle III-Common”, Platform China Contemporary Art Institute, Beijing,

China (2017); Lucid Art Foundation Residency, Inverness, CA (2016); “Edge Effect”,

Fort Mason Center, San Francisco, CA (2015).

For more information please contact the gallery: info@tylerwoodgallery.com

Egan Frantz and Alan Vega via Grégoire Bonnet

Tyler Wood Gallery   |   October 25 - December 21

Opening Reception: Thursday, October 25  |  6–8pm

LONG ISLAND CITY -- Tyler Wood Gallery is pleased to present an exhibition of new and historical works by Egan Frantz, Alan Vega and Grégoire Bonnet.

Bonnet has created an algorithm that produces music in real time within a computer program.

The music’s data shows simultaneously on a laptop screen.

This music and its visuals is the catalyst for a chemical reaction between paintings by Frantz and sculptures by Vega.

Frantz produced his paintings for the exhibition.

Vega’s sculptures are from 1986 and the other between 1987-2015.

Frantz is also a musician and plays with Xeno & Oaklander.

Vega was the vocalist in the duo with Martin Rev of Suicide.

Bonnet is a musician and composer based in Paris.

Egan Frantz (born 1986): Frantz belongs to the intellectually and aesthetically most challenging artists of his generation. His semiotic approach to painting — one that understands painting as a language — encompasses a variety of media including sculpture, installation, furniture design, and printed matter in addition to the traditional painted canvas or variations on that format.  The young New York artist and musician combines a way of thinking, nurtured by the protagonists of contemporary experimental theory, with a tonally breached practice of seeing and acting-out that can get very physical. Thinking machine, sound machine, body machine, image machine… Kraftwerk. 

The artist's forthcoming solo exhibition and catalogue will be staged by the Neuer Aachener Kunstverein, Germany, in 2019.

Frantz has had solo exhibitions at Miguel Abreu Gallery, New York; Galerie Nagel Draxler, Berlin / Cologne; C L E A R I N G, New York; Tomorrow Gallery, Toronto; Roberts Projects, Los Angeles; Tilton Gallery, New York; Michael Jon Gallery, Miami; and Fused Space, San Francisco. The artist has been included in group exhibitions at Essl Museum, Vienna; The Emily Harvey Foundation, New York; Andrew Roth, New York; James Fuentes, New York; Kavita B Schmid, New York; and Bahamas Biennale, Detroit.

Alan Vega (1938-2016): Vega is known first as one-half of the groundbreaking electro-punk duo Suicide, which initiated the merger of adversarial rock and anti-establishment performance that became punk, even as it left the movement behind. But music was always Vega’s second act. At Brooklyn College, he became involved with the activist collective Art Worker’s Coalition, which lobbied aggressively for museum reform and even barricaded MoMA, and with the Project of Living Artists, an anarcho-residency-performance space which emerged from it. He moved from painting to sculptures assembled from light fixtures and discarded electronic detritus, works which critic Simon Reynolds described  “trash-culture shrines from a post-cataclysmic America of the near-future” and Jeffrey Deitch has called “the toughest and most radical art I had ever seen.” Vega staged several legendary shows at OK Harris Gallery, and later inaugurated Barbara Gladstone’s first downtown space in 1983. Through the 1980s and 1990s, Vega continued to make new work, but declined to exhibit it until 2002. (from press release for Keep IT Alive at INVISIBLE-EXPORTS)

For more information please contact the gallery: info@tylerwoodgallery.com

John Dante Bianchi

Enantiodromia

Tyler Wood Gallery   |   January 12 – February 24

Opening Reception: Saturday, January 12  |  6–8pm

LONG ISLAND CITY -- Tyler Wood Gallery is pleased to present an exhibition of new works by John Dante Bianchi.

My newest grouping of work titled Enantiodromia at Tyler Wood Gallery continues my previous bodies of works of hybrid sculpture and painting. Influenced by the psychological ideas of the Double Bind and the individuation process these new works reflect the idea of integrating the unconscious and conscious minds.

As before I aim to re-contextualize bodily and psychic trauma as an opportunity for regeneration and growth, breaking down existing forms to make way for the creation of new ones. This counterintuitive process is critical to many processes of growth and both personal and public development. 

By collapsing the antithetical ideas of permanence/ impermanence, destruction/ creation, natural/ synthetic, past/ future, sculpture/ painting I’m hoping to escape the binary confines of thinking.

--John Dante Bianchi

Bianchi received an MFA from Yale University and BFA from Cooper Union. He has had one-person exhibitions at Tyler Wood Gallery in San Francisco; Galerie Derouillon, Paris; Denny Gallery, New York; Thierry Goldberg Gallery, New York; Signal Gallery, Brooklyn; and Primetime, Brooklyn. He has been included in group exhibitions at Galerie Derouillon, Paris; David Zwirner, New York; James Fuentes, New York; and Night Gallery, Los Angeles. Bianchi lives and works between Detroit and New York.

For more information please contact the gallery: info@tylerwoodgallery.com

Eleanor Oakes

2 Years in Barnes Hall

Tyler Wood Gallery   |   June 14 - July 21

LONG ISLAND CITY -- Tyler Wood Gallery is pleased to present an exhibition of works by Eleanor Oakes.

The show features images from the series '2 Years in Barnes Hall,' large black and white photographs made from contact printing dust from the studio floor during her MFA at Stanford onto 8 in x 10 in sheet film to create celestial landscapes. The images are unintentional self-portraits, depicting corporeal presence through strands of hair and skin cells, while the accumulation of dust functions as an independent measure of time.

Eleanor Oakes received an MFA in Art Practice from Stanford University and a BA from Princeton University. Her work has been shown at the University of the Arts, Philadelphia; Simone deSousa Gallery, Detroit; N'Namdi Gallery, Detroit; Root Division, San Francisco; Gulf and Western Gallery, New York; among others. She had a solo exhibition at Tyler Wood Gallery in San Francisco (2015) and was published in 25 Under 25: Up-and-Coming American Photographers (powerHouse Books and CDS, 2008). She is a recipient of a Murphy and Cadogan Contemporary Art Award from the San Francisco Foundation, the Anita Squires Fowler Award, and was an Applebaum Emerging Artist Resident at Ponyride in 2016.

Oakes is currently based in Detroit. She is Assistant Professor of Photography at the College for Creative Studies and Founder and President of Darkroom Detroit, a non-profit organization created to increase photography education, access, and visual literacy in Detroit.

For more information please contact the gallery: info@tylerwoodgallery.com