Rosy Keyser

Transcription

Rosy Keyser

PETER BLUM
GALLERY
ROSY KEYSER
P E T E R B L UM
G AL L E R Y
ROSY KEYSER
Born 1974 Baltimore, MD
Lives and works in Brooklyn, NY and Medusa, NY
EDUCATION
MFA The School of the Art Institute of Chicago, Chicago, IL
BFA Cornell University, Ithaca, NY
SELECTED SOLO EXHIBITIONS
2013
2011
2009
2008
Medusa Pie Country, Peter Blum Gallery, New York, NY
Promethean Dub, Peter Blum Chelsea, New York, NY
The Moon Ate Me, Peter Blum Chelsea, New York, NY
Rivers Burn and Run Backward, Peter Blum Chelsea, New York, NY
SELECTED GROUP EXHIBITIONS
2013
2012
2011
2010
2009
2008
2007
2006
2005
2004
The New Sincerity, Lora Reynolds Gallery, Austin, TX
Painter Painter, curated by Eric Crosby and Bartholomew Ryan, The Walker Art Center,
Minneapolis, MN
Painting from the Zabludowicz Collection: Part II, The Zabludowicz Collection,
London, UK
Tone Poem, Halsey Mckay Gallery, East Hampton, NY
Hue and Cry, Sotheby's S2 Gallery, New York, NY
Heat Waves, Peter Blum Chelsea, New York, NY
Pink Caviar, Louisiana Museum of Modern Art, Humlebæk, Denmark
Science on the back end, Hauser and Wirth, New York, NY, curated by Matthew Day Jackson
Luis Camnitzer, Rosy Keyser, Robert Kinmont, and Linda Matalon, Simone Subal Gallery, New
York, NY
Idealizing the Imaginary: Illusion and Invention in Contemporary Painting,
Oakland University Art Gallery, Rochester, MI
Miriam Bohm, Rosy Keyser, Erin Shirreff, Lisa Cooley, New York, NY
A Painting Show, Harris Lieberman, New York, NY
I Can't Forget, But I Don't Remember What, Freymond Guth Fine Art, Zurich, Switzerland
Black and White, Jason McCoy Gallery, New York, NY
Spray, D'Amelio Terras, New York, NY
Immaterial, Ballroom Marfa, TX, curated by Fairfax Dorn
Reflection, Peter Blum Soho, New York, NY
Almost, Nicelle Beauchene Gallery, New York, NY, curated by Lance Goldsmith
New Work, Reynolds Gallery, Richmond, Virginia
Hi, Low, and In Between, Grimm Fine Art, Amsterdam, The Netherlands
Sack of Bones, Peres Projects, Los Angeles, CA
Zero Zone, Tracy Williams Ltd., New York, NY
Stubborn Materials, Peter Blum Chelsea, New York, NY
Durer re-enactment, Laeso, Denmark/ Baltimore, MD
Family Portraits and Energetic Blueprints, Rensselaerville, NY
7-Year Installation, Track House (Remote Back Side), Marble, CO
The Stray Show, Track house, Chicago, IL
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P E T E R B L UM
2003
G AL L E R Y
On A Wave, Jessica Murray Projects, Brooklyn, NY
Yard Sale, Track House, Chicago, IL
Sulcata Solves, Track House, Oak Park, IL
Depiction, Gallery 400 at The University of Illinois at Chicago, Chicago, IL
The Impotent Landscape, The Pond, Chicago, IL
SELECTED PUBLICATIONS
2013
2012
Mara de Wachter, Ellen, “Painting from the Zabludowicz Collection”, London: Zabludowicz Collection,
2013, p. 88-90, p. 93-97, ill.
Goody, Dick, “Idealizing the Imaginary: Illusion and Invention in Contemporary Painting”, Oakland:
Oakland University Art Gallery, 2012, p. 36, p. 37-39, ill.
Tøjner, Poul Erik, “Louisiana Museum of Modern Art: Acquisitions 2009-2011”, Denmark: Louisiana
Museum of Modern Art, 2012, p. 64, p. 65, ill.
SELECTED ARTICLES
2013
2012
2011
2010
2009
2008
2007
2006
2004
“50 Under 50: The Next Most Collectible Artists”, Art + Autcion, June 2013, p 126
“10 Picks: New York Frieze 2013”, Interview Magazine, May 11, 2013
Baker, E. “New York – Rosy Keyser: ‘Medusa Pie Country’ At Peter Blum, Through April 20th, 2013”,
Art Observed, April 20, 2013
Russeth, Andrew, “Rosy Keyser: Medusa Pie Country”, New York Observer, April 1, p. B7
Fee, Brian, “Local Color, Rosy Keyser at Peter Blum Gallery”, New American Paintings, March
Pendle, George, "Rosy Keyser", Frieze, March. p. 162
Walsh, Brienne, "Rosy Keyser", ArtReview, December. p. 124
"Rosy Keyser: Goings on About Town: Art", The New Yorker, 31 October
Marjanovic, A., "AO on Site - New York: Rosy Keyser at Peter Blum through November 12, 2011", Art
Observed, 7 October
Schwabsky, Barry, "The Resistance of Painting: On Abstraction", The Nation, 4 January, p. 34
MacAdam, Alfred, "Rosy Keyser", ARTnews, December, p. 108
Maine, Stephen, "Exhibition Review: Rosy Keyser", Art in America, December. p. 134-135
"Zero Zone" Goings On About Town, The New Yorker, August 11
Hudson, Suzanne, "Rosy Keyser," Artforum, May. p. 377
Smith, Roberta, "Art in Review: Rosy Keyser, Rivers Burn and Run Backward," The New York Times, 11
April. Section E p. 36
"Rosy Keyser," The New Yorker, 14 April. p. 13
Maine, Stephen, "A Landslide and a Cocktail Party, The New York Sun, 20 March. p. 21
Smith, Roberta, "In These Shows, the Material is the Message," The New York Times, 10 August. Section
E p. 27
Maine, Stephen, "Their Dark Materials," The New York Sun, 12 July. p. 21
Hudson, Suzanne, "Stubborn Materials," Artforum, November. p. 370
Neil, Jonathan T.D., "Stubborn Materials," Art Review, September. p. 129
"Stubborn Materials," The New Yorker, 27 August. p. 18
Clarkson, Lamar, "Stubborn Materials," ArtNews, October. p. 216-217
MacAdam, Barbara, "Object Overruled," ArtNews, December. p. 124-127
Orden, Abraham, "The Windy Apple," Artnet, 18 May. http://www.artnet.com
Cotter, Holland, "Sampling Brooklyn, Keeper of Eclectic Flames," The New York Times, 23 January.
Section E p. 23
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SELECTED PUBLIC COLLECTIONS
The Louisiana Museum of Modern Art, Denmark
The Maxine and Stuart Frankel Foundation
The Portland Museum of Art
The Zabludowicz Collection
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Moby Dick, 2012 p. 93, ill.
Moby Dick, 2012 p. 94, ill.
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Eve’s First Confusion Between Penises and Snakes,
2012, p 95, ill.
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2012, p. 96, ill.
2012, p. 96, ill.
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Rosy Keyser:
Medusa Pie Country
Peter Blum - New York
June, 2013
Stephanie Buhmann, writer
In her latest New York solo exhibition Rosy Keyser continued her quest to challenge the
conventions of painting. This pertained primarily to shape and material content. Her new
works are increasingly large, confrontational in their immediacy and determined to address
notions of physicality. These compositions extend beyond rectangular confines and
frequently push surface textures into sculptural territory. With few exceptions, their palette
is predominantly brooding, earthy and embracive of the dark. They dismiss anything
decorative in favor of a clear proposition: they want to be considered in their entirety.
However, upon close observation they reveal a captivating sense of playfulness
underneath the initial layer of sobriety.
Rosy Keyser, A Blind Torpedo Walks into a Bar, 2013
raffia, enamel, glass, wood, and basket
91 ½” x 65 ½”.
Courtesy Peter Blum Gallery, New York.
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Some of the qualities found in Keyser’s work find a likeminded reflection in the oeuvres of
Blinky Palermo or the contemporary James Hyde, for example. While certainly not a
pioneer, Keyser has chosen a path that remains radical. She is a painter; and yet, her
explorations and constructions increasingly explore the nature of the medium by means of
contrast and differentiation. It is the juxtaposition of angles and voids that describes the
landscape of her abstractions instead of the traditional harmonious interplay of color and
form. It is apparent that Keyser is not focused on creating works that easily please or
appease our sense of stability. Instead, she is interested in dynamics. She commits to
works that reveal a rough spontaneity but are also self-reliant.
As a group, the paintings on view offered a coherent mixture of big gestures and fine-tuned
details. They were created simultaneously in dialogue, and it is their continuing calling and
responding to each other that made for a satisfying visual through line. Whereas broad
strokes and lush gestures allow the compositions to appear somewhat raw, delicate
nuances in the form of wire drawings, for example, add a finer contemplation. In fact, it is
the sophisticated interplay of improvisation and editorial intervention that sparks the
characteristic rhythm in these works. Metaphorically, it illustrates the artist’s belief that art is
always being made-consciously but also in instances often understood as non-artistic.
Keyser’s work combines both conscious and unconscious moments, searching for poetry
where these states overlap and then diffuse.
Despite being evocative of both mythic and feminine forces, the exhibition title of “Medusa
Pie Country” harkens back to something rather concrete. It was in Medusa in Upstate New
York, where Keyser acquired many of the materials used in this new body of work. Here,
rusted steel fragments, beer cans, sawdust and tarp are reused and imprinted by a rough
mono-printing process, transforming Keyser’s work into an energized synthesis of unlike
materials and textures. Meanwhile, this wild assemblage provides a totemic quality.
Keyser’s works can be faintly evocative of ritualistic African sculptures pierced with nails
and coins, or of the tabletop collages by Dieter Roth. Although Keyser is pursuing a path
much more abstract, her works call on various senses. They engage us visually, but also
make us wonder how these surfaces could be experienced by touch or if they could even
initiate sound.
(February 28 - April 20, 2013)
Stephanie Buhmann is a contributing editor at Artcritical.com. Her essays and art reviews
have been published internationally, including byKunst Bulletin, Sculpture Magazine, The
Brooklyn Rail, Art on Paper, Art Collector and Art Lies, among others. She also has a
regular art column in Chelsea Now. She is currently working on a series of interviews with
contemporary artists based in New York.
The original article can be found at: http://artpulsemagazine.com/rosy-keyser-medusa-piecountry
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NEW YORK – ROSY KEYSER: “MEDUSA PIE COUNTRY”
AT PETER BLUM, THROUGH APRIL 20TH 2013
April 20th, 2013
E. Baker, writer
Rosy Keyser, Hungry Shepherd Honeypot (2013), Courtesy Peter Blum Gallery, New York
Rosy Keyser‘s new group of works, Medusa Pie Country, is currently on view at Peter Blum Gallery in New
York. Consisting almost exclusively of materials she found in the upstate New York hamlet of Medusa, where
she occasionally works, Keyser’s works on view grapple with the idea that art is always being made, both
inside the studio and out.
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Rosy Keyser, Ice Fishing (2013), Courtesy Peter Blum Gallery, New York
Born in Baltimore, MD in 1974, Rosy Keyser received her BFA from Cornell University and an MFA from The
School of the Art Institute of Chicago. Her work has been included in group shows at the Walker Art Center,
Minneapolis, MN; the Louisiana Museum of Modern Art, Humblebæk, Denmark; Ballroom Marfa, TX;
and Peter Blum Chelsea, New York; as well as in the permanent collections of the Louisiana Museum,
Denmark; the Zabludowicz Collection, London, and the Maxine and Stuart Frankel Foundation, MI. Keyser
lives and works in Brooklyn and Medusa, NY.
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Rosy Keyser, Mantis Seer (2013), Courtesy Peter Blum Gallery, New York
Beer cans, sawdust, rusted corrugated steel, tarp, enamel, oil paint, and canvas make up Keyser’s melange of
life-meets-art paintings, balanced between assemblage and the pure act of painting. Using a variety of
methods, Keyser frees herself from the conventions of art making, making references to natural forces as well
as the idea of “self-reliance as a kind of nonconformity,” as stated by the gallery. Her paintings are maps of
encounter, tracing interactions between the elements and their assemblage, as well as the interaction between
the artist and her materials.
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Rosy Keyser, Mnemonic Land Device, 2013, Courtesy Peter Blum Gallery, New York
Seeking to reorder these elements within space, Keyser’s interpretation of the materials reveal her own
individual spirituality and tendencies toward poetry, a medium that, according to Frank O’Hara: ”makes life’s
nebulous events tangible and restores their detail; or conversely that poetry brings forth the intangible quality
of incidents which are all too concrete and circumstantial.” Keyser takes great inspiration from O’Hara, as
well as his fellow New York School compatriots in the visual arts, incorporating exterior elements as a record
of her encounter with her spatial surroundings, and using them as an artistic and material parallel to the
experiences of the artist’s life.
Medusa Pie Country will continue at Peter Blum 57th street in New York through April 20, 2013.
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Rosy Keyser: ‘Medusa Pie Country’
at Peter Blum
March 26, 2013
Mnemonic Land Device (For Blind Willie McTell), 2013
cardboard, palm mat, enamel, wire, and steel
86 x 64 ½ (218.44 x 163.83 cm)
The Medusa in the title of Rosy Keyser’s fourth show at Blum refers to the upstate
hamlet where she works, not the Gorgon, but there is a hint of that myth in the five huge
abstract paintings here. Each one looks flash-frozen, an abstract assemblage of flowing
materials—sawdust, which has the look of moss when she paints it, hunks of metal,
sheets of plastic, the occasional beat-up rope—stopped at a precise moment on canvas
by an exacting eye.
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She often begins with a thin veil of color on canvas, light peach and melba stains in the
case of the almost eight-foot-tall Ice Fishing (all works 2013). Then she paints, usually in
a palette of blacks and whites, and affixes cast-off materials—in that work, a slice of jute
that dangles into space, plus a slab of pine and part of a bamboo dumpling basket that
she used to make faint prints on this canvas and others.
Tools and the marks they have made live side by side. She’s stuck a long wooden stilt
across Hitching Post for a Leopard Appaloosa after using it to make prints across the
almost-wet black linen skin that clings to its birch panel.
Material fetishists like Antoni Tàpies and Julian Schnabel remain lodestars for Ms.
Keyser, but these works are denser and yet somehow freer—more her own—than past
efforts. They look like they contain secrets that will take some time to tease out, and the
longer you spend with them, the more they offer up—that hidden grommet that reveals
the thin tarp hugging Mantis Seer, that long slice of rope tucked into the woven
corrugated aluminum that makes up half of Hungry Shepard, Honeypot.
Mnemonic Land Device (For Blind Willie McTell), a craggy right triangle cut from a
rectangular frame, is especially impressive. She has covered its body with egg cartons,
its grid of wooden supports with palm mats, and strung three metal wires from end to
end to fashion a sort of harp or lyre. She is playing the songs of the deserted country, of
burned-out factory buildings and abandoned backlots. Like Sarah Braman and Virginia
Overton, she’s building something new out of the detritus of those places. These are
makeshift instruments, often fragile, but she makes them sing. (Through April 20)
Andrew Russeth, writer
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March 21, 2013
Brian Fee, writer
LOCAL COLOR: ROSY KEYSER AT PETER BLUM GALLERY
Take that old adage ‘a picture is worth a thousand words’ and quintuple it, then dive into Rosy Keyser’s latest solo
Medusa Pie Country, the inaugural exhibition at Peter Blum Gallery‘s new midtown location. Keyser’s canvases are open
books, flayed, stained, and/or augmented compositions imbued with visual narrative and reinventions of painting itself. —
Photo credit: Adam Reich
Hungry Shepherd, Honeypot, 2013, Diptych
Left panel: enamel, spray paint, and rope on steel
Right panel: dye, enamel, bamboo, and polycarbonate on aluminum and wood on
canvas
106 x 178 inches (left: 106 x 87 1/2 inches; right 102 x 87 inches)
Courtesy Peter Blum Gallery, New York
A perpetually flowing vein in Keyser’s style challenges the creative (as in creation) aspects of painting while maintaining a
tenuous dialogue between completion and destruction. I felt this distinctly at her 2011 solo at the gallery’s former Chelsea
space, Promethean Dub, which underlined her alchemy of abstraction tropes by balancing house paint and enamel with
rope and metal. In these new works, however, her choice of detritus selected from the namesake upstate New York
hamlet where she splits her time is particularly potent in retaining a tight dialogue in Medusa Pie Country. Consider
Hungry Shepherd, Honeypot, a diptych asserting across an entire gallery wall. The left side eschews canvas for portions
of corrugated steel, attacked here and there by strikes of white spray paint and black enamel. The right portion retains
canvas, covered in grand gestural brushwork, but features a mangled polycarbonate sheet on top, its rippling
transparence punctured by tree branches and its tactility echoing the steel’s wave. At the base of Hungry Shepherd,
Keyser has twisted up the steel to carry a length of thick rope. The diptych takes ‘Abstract Expressionism’ and adds
‘Mother Nature’s wrath’ to the equation, like the foreign objects here were flotsam from Hurricane Sandy that washed up
in Brooklyn, Keyser’s second home.
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Medusa Pie Country installation view
Hitching Post for a Leopard Appaloosa, 2013
Ash stilts, enamel, dye, cardboard, and linen on
birch panel
101 x 77 inches
Not all the works from Keyser’s Medusa series so vividly evoke disaster. Hitching Post for a Leopard Appaloosa one-ups
its charming title with unique compositional elements. Several sections of painted ash stilts act as framing devices across
pieces of raw linen affixed to a door-sized birch panel, all utilitarian media recalling horse breeders at the foothills of the
Adirondacks, north of Medusa. Plus, the stilts’ white impressions across black enamel-soaked and bare linen echo both
the appaloosa’s pelt and energetic equine motion. Keyser preserves the majority of Ice Fishing‘s bare canvas, sans
semicircular bluish-black stains and white spatters here and there, like cracks in the frozen surface. Textured jute erupting
from a torn gash in the canvas’ base feels more like a pocket of warmth from the elements than an intentional abrasion.
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Ice Fishing, 2013
Bamboo, pine, enamel, oil, and jute on canvas
92 1/2 x 72 inches
Medusa Pie Country installation view
I suggest Mantis Seer as a reference point for the entire exhibition, for despite the grandiosity and undeniable gravity
contained within the two-panel beast Hungry Shepherd, Honeypot, it is Mantis Seer‘s apparent traditional structure that
ties it back to Keyser’s previous works while still emphasizing her localized material explorations. Look at this gestural
canvas from a distance, until the sawdust-coated surface coalesces into textural noise and the diagonal black striations
lock into a barn floor template. It is nearly the largest single-panel work here, but by ‘skewing’ the composition a bit
Keyser mellows any action-painting fury, returning the visual allure back to place. The zigzagging surface rip references
the titular mountain bike that may be responsible for it. The graffiti-like R.K. oriented sideways in the lower left is like
lovers’ initials gouged in wood, supersized to AbEx proportions. Mantis Seer feels ‘lived in’, a common element in these
works that tempers even Hungry Shepherd, Honeypot‘s might. This is an important distinction in Keyser’s work, for
despite their ostensible abstraction, they never distance themselves from home.
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Mantis Seer, 2013
Oil, enamel, and sawdust on canvas
100 x 80 inches
—Rosy Keyser / Medusa Pie Country / Peter Blum Gallery (opens Feb 28, through April 20)
Rosy Keyser was born 1974 in Baltimore, MD and lives and works in Brooklyn and Medusa, New York. Keyser received
her BFA from Cornell University and her MFA from The School of the Art Institute of Chicago. Her work has been included
in the following group shows: Immaterial at Ballroom Marfa, Texas, curated by Fairfax Dorn (2011); A Painting Show at
Harris Lieberman Gallery, New York, NY (2011); I Can’t Forget, But I Don’t Remember What at Freymond Guth Fine Art,
Zurich, Switzerland (2010); Spray at D’Amelio Terras , New York, NY (2010); Hi, Low and In Between at Grimm Fine Art,
Amsterdam, The Netherlands (2009); New Work at Reynolds Gallery, Richmond, VA (2009); Sack of Bones at Peres
Projects, Los Angeles, CA (2008); Zero Zone at Tracy Williams Ltd., New York (2008); and Stubborn Materials at Peter
Blum Chelsea, New York (2007). Her work is included in permanent collections such as The Louisiana Museum, Denmark,
and the Maxine and Stuart Frankel Foundation, Bloomfield Hills, Michigan. Medusa Pie Country continues through April
20.
Brian Fee is an art punk currently based in Austin, TX. His culture blog Fee’s List covers his three loves (art, film, live
music) occurring in his other three loves (the Lone Star State, the Big Apple, and Tokyo).
Brian Fee, Austin contributor
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Blumarts Inc.
20 West 57th Street
New York, NY 10019
GALLERY
Tel + 1 212 244 6055
Fax + 1 212 244 6054
[email protected]
PETER BLUM
Blumarts Inc.
20 West 57th Street
New York, NY 10019
GALLERY
Tel + 1 212 244 6055
Fax + 1 212 244 6054
[email protected]
PETER BLUM
Blumarts Inc.
20 West 57th Street
New York, NY 10019
GALLERY
Tel + 1 212 244 6055
Fax + 1 212 244 6054
[email protected]
PETER BLUM
Blumarts Inc.
20 West 57th Street
New York, NY 10019
GALLERY
Tel + 1 212 244 6055
Fax + 1 212 244 6054
[email protected]
PETER BLUM
Blumarts Inc.
20 West 57th Street
New York, NY 10019
GALLERY
Tel + 1 212 244 6055
Fax + 1 212 244 6054
[email protected]
PETER BLUM
Blumarts Inc.
20 West 57th Street
New York, NY 10019
GALLERY
Tel + 1 212 244 6055
Fax + 1 212 244 6054
[email protected]
PETER BLUM
Blumarts Inc.
20 West 57th Street
New York, NY 10019
GALLERY
Tel + 1 212 244 6055
Fax + 1 212 244 6054
[email protected]
PETER BLUM
Blumarts Inc.
20 West 57th Street
New York, NY 10019
GALLERY
Tel + 1 212 244 6055
Fax + 1 212 244 6054
[email protected]
PETER BLUM
Blumarts Inc.
20 West 57th Street
New York, NY 10019
GALLERY
Tel + 1 212 244 6055
Fax + 1 212 244 6054
[email protected]

Rosy Keyser

Transcription

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