Karl Hofmann: In the Balance

Karl Hofmann In the Balance

516 ARTS December 1, 2017 – January 13, 2018 Albuquerque, New Mexico

Carefully, By Hand

By Claude Smith

In the Balance is Albuquerque-based Karl Hofmann’s most recent offering and perhaps his most ambitious. Filling the two front windows of 516 ARTS facing Central Avenue, Hofmann conceived of the project to address the inherent verticality of the space and to engage the central roof-like portion over the front door. Joining the two spaces and spilling out into the front room, In the Balance is an exhibition that provides viewers a unique vantage point into Hofmann’s artistic process across different media. In addition to the sculptural work in the main gallery space, seven paintings are also included in the exhibit – one of which served as the preparatory sketch for his installation and reflects the intersections of painting and sculpture in his practice. This exhibition offers insight into Hofmann’s thought process, highlighting his knack for spatial awareness and fascination with the inherent beauty that particular materials present.

In Hofmann’s sculptural work, he regularly incorporates equipment, tools and other paraphernalia associated with the construction trade including trash cans, saw horse clamps, shop lights and cast concrete foundation blocks which are repurposed as sculptural ready-mades. It’s no coincidence that many of the materials sourced by Hofmann are available for purchase from do-it-yourself home centers and hardware stores. By re-contextualizing these objects, Hofmann suggests that self-determination and a kind of ad-hoc ingenuity are the primary components in his creation process.

The Genius of Dreams (detail), 2017, watercolor, gouache & ink on paper. 22.5 x 30 inches

Hofmann also uses waste stream materials both practically and stylistically. The castoff bits or odd size scraps of molding, plywood, or found lumber, otherwise destined for the waste bin, are cut to fit a particular need while at the same time satisfying Hofmann’s desire to recycle and reuse these materials in an alternate context.

Embracing the extreme verticality that the front window spaces and atrium present, Hofmann balances the intensely rigid tower-like structures visible in the windows with the lofty, more delicate free hanging lengths of thinly planed poplar from the ceiling above. Hofmann’s “ribbons” dangle freely in space supported by fishing wire in what appears almost to be a single, unbroken length of wood. Hofmann carefully manipulates the forms with various twists and turns, and counterweighs sections with chunks of scrap wood and pairs of spring clamps. The resulting outcome makes this work feel like a carefully orchestrated system where each part relies on the other in order to maintain the integrity of the whole. While Hofmann succeeds in balancing precariously placed objects, he is also balancing the viewer’s response, begging the question: could awe or wonderment easily turn to anxiety or disaster with a careless misstep?

In a recent conversation, Hofmann remarked that his sculptural work tends to be governed by much of the same logic and process of his painting practice, saying, “What I’m doing here is definitely related to what I try to do with a painting or drawing. I want people to be able to approach space in much of the same way. I offer something that is visually compelling and create a space where people want to linger.” This approach can be seen in numerous places where Hofmann creates tightly composed and orchestrated “mini compositions,” by way of layering different materials, objects or by applying color – much in the same way a painter might manipulate the application of paint to achieve a particular effect or to guide a viewer’s eye through the composition. At times when considering In the Balance, it’s hard to shake the feeling that even as a sculptor, Hofmann really is still painting.

It’s quite easy to get lost in the details of the assembly, from how lengths of wood joined together to contrast planes or angles, to how various shades of colors draw the eye depending on the vantage point from which they are viewed. To be clear, the work as a whole is not meant to be indicative of his abilities as a finish carpenter. He doesn’t obsess over hiding his hand by employing complex joinery or finishing techniques.

He’s much more interested in the act of creation itself and the resulting aesthetic experience.

There’s something particularly liberating about Hofmann’s mode of operation. His refreshingly intuitive approach to artmaking transforms the mundane into an intriguing spectacle that inspires both curiosity and wonder. When asked about how he approached the challenge of upscaling his work to fill the space, Hofmann responded, “I have to just pay attention to the resonance of the materials themselves; each element has a particular power to it, after that, it’s just an arrangement challenge.”

While Hofmann succeeds in balancing precariously placed objects, he is also balancing the viewer’s response, begging the question: could awe or wonderment easily turn to anxiety or disaster with a careless misstep?

In the Balance in process, 2017, installation detail

Claude Smith is the Exhibitions & Fulcrum Fund Manager at 516 ARTS. In addition to designing and installing exhibitions, he is also a curator and writer. His writing has appeared in ARID Journal, Edible Santa Fe and New American Paintings online, where he is a featured contributor. He has curated exhibitions at 516 ARTS and Tamarind Institute, among others. He holds a BA degree in Art History and Biology from the University of New Mexico.

KARL HOFMANN Born 1975, Lives in Albuquerque, NM EDUCATION 2008 University of New Mexico, Master of Fine Arts (with distinction) 1998 University of Michigan, Bachelor of Fine Arts SOLO EXHIBITIONS 2017 2017 2014 2011 2009 2008 2004

In the Balance, 516 ARTS, Albuquerque, NM Paintings by Karl Hofmann, Izzy Martin, Albuquerque, NM A Second Life, Harwood Art Center, Albuquerque, NM and Art123, Gallup, NM Strength in Numbers, Generator, Albuquerque, NM Doomers Delight, Harwood Art Center, Albuquerque, NM Song Swan, SCA Contemporary Art, Albuquerque, NM New Paintings by Karl Hofmann, The Waiting Room Gallery, New Orleans, LA

SELECTED GROUP EXHIBITIONS 2016 2016 2015 2011 2010 2008 2007 2006 2005 2003 2001

Re-Iterations, Sanitary Tortilla Factory, Albuquerque, NM Off the Record, Inpost Artspace, Albuquerque, NM Stubborn Matter, Wade Wilson Fine Art, Santa Fe, NM Uncommon Connections: Terrence Campagna, Danny Crump, & Karl Hofmann, Da Wang Cultural Highland, Luohu District, Shenzhen, China Cristina de los Santos & Karl Hofmann, Isaac’s Gallery, Roswell, NM Frenzy, 1st Street Art Center, Trinidad, CO Karl Hofmann vs. Trevor Lucero, Fine Art Gallery at the College of Santa Fe, NM 13th Annual Juried Graduate Exhibition, Jonson Gallery, Albuquerque, NM Change Up, The Donkey Gallery, Albuquerque, NM Keep On Pushing, The Donkey Gallery, Albuquerque, NM At First Glance, Jonson Gallery, Albuquerque, NM New Work by Karl Hofmann and Warren Irvin, Big Top Gallery, New Orleans, LA Dark Arts, The Pickory Art Space, New Orleans, LA

PROJECTS 2015 Deluxe Redux, Collaborative Installation with Fitz Sargent & Steve Storz, Art123, Gallup, NM 2014 Of Two Minds, Collaborative Installation with Fitz Sargent, Studio &, Durango, CO 2009 Colossus, Installation presented by 516 ARTS in conjunction with Here & There: Seeing New Ground for LAND/ART, Gold Street Lofts, Albuquerque, NM AWARDS & RESIDENCIES 2011 Artist in Residence, DaWang Culture Highland, Luohu District, Shenzhen, China 2007 Arnold W. Brown Endowed Scholarship 2006 Florence Henri Prize Harry Nadler Memorial Fellowship SELECTED PUBLICATIONS New American Paintings, NAP Contributor Top 5, by Claude Smith, December, 2014.

Shenzhen Economic Daily, American Dreams, by Liu Qiong, July 27, 2011.

Art in America, The Earth Sublime, by Sarah S. King, May 12, 2009.

Santa Fe Reporter, College Confidential, by Zane Fisher, March 12, 2008.

Santa Fe New Mexican, Paint, Counterpaint, by Elizabeth Cook-Romero, March 7, 2008.

COVER: Drawing for In the Balance, 2017, watercolor, gouache, ink on paper, 15 x 11 inches

In the Balance in process, 2017

516 ARTS is an independent, nonprofit, contemporary art museum in the center of Downtown Albuquerque that celebrates thought-provoking art in the here and now. Programs feature a mix of local, national and international artists, and inspire curiosity, risk-taking and creative experimentation.

516 ARTS offers fresh perspectives on relevant issues and cultivates engagement between diverse artists and communities. Programs include exhibitions, collaborations with museums and organizations around the region and beyond, public art projects, talks, workshops, youth programs, performances and more. 516 ARTS is made possible in part by major support from McCune Charitable Foundation, The City of Albuquerque, The FUNd at Albuquerque Community Foundation, The Andy Warhol Foundation for the Visual Arts and the National Endowment for the Arts.

GOVERNING BOARD

STAFF

Danny López, Chair Hakim Bellamy Joshua Edwards Kymberly Pinder Tim Price Mark Rohde Suzanne Sbarge Sommer Smith Tonya Turner Carroll

Suzanne Sbarge, Executive Director Claude Smith, Exhibitions & Fulcrum Fund Manager Josie Lopez, Curator Mackensie Lewis, Gallery Assistant

516 Central Avenue SW, Albuquerque, New Mexico, 87102 505-242-1445 • info@516arts.org • www.516arts.org Open Tue – Sat, 12-5pm