Keith Spoeneman: Assemblages: Reassembled, Repurposed

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KEITH SPOENEMAN

Assemblages: Reassembled, Repurposed

bruno david gallery

KEITH SPOENEMAN

Assemblages: Reassembled, Repurposed

November 10, 2023 - January 20, 2024

Bruno David Gallery 7513 Forsyth Boulevard

Saint Louis, Missouri 63105, U.S.A. info@brunodavidgallery.com www.brunodavidgallery.com

Founder/Director: Bruno L. David

This catalogue was published in conjunction with the exhibition “Assemblages: Reassembled, Repurposed” at Bruno David Gallery.

Editor: Bruno L. David

Catalogue Designer: Kenya Mitchell

Designer Assistant: Claudia R. David

Printed in USA

All works courtesy of Keith Spoeneman and Bruno David Gallery

Photographs by Bruno David Gallery

Cover image:

Metaglyph No. 46, 2019

Latex, Luan board, Fasteners, pine, masonite

26.75 x 22 x 1.5 inches

First Edition

Copyright ©2024 Keith Spoeneman and Bruno David Gallery

All Rights Reserved. No part of this publication may be reproduced or transmitted in any form without the written permission of Bruno David Gallery

CONTENTS

STATEMENT BY KEITH W. SPOENEMAN

AFTERWORDS

BY BRUNO L. DAVID

CHECKLIST AND IMAGES OF THE EXHIBITION

BIOGRAPHY

STATEMENT

BY

KEITH SPOENEMAN
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I remember going at a young age to the Art Institute in Chicago and being overwhelmed by a particular Paul Klee print. The colors, the child-like invention was entirely new to me and completely captivating. Afterwards, intrigued, I continued going to Museums, looking at art books, reading about the history of art, particularly about Modernism, the new ways of making art, and then, when I was sixteen or so, I met a local artist, a friend of my older brother, Dewey Dempsey, who had studied art at Brown University and apprenticed to Henry Moore, and through him was introduced to the exciting and psychologically more expressive and contemporary, Assemblage and Collage. Not long after that, I felt “permitted and enabled” to make art the same way, or rather, my own way, taking various objects I found that appealed and had some significance for me, and putting them together. Meanwhile, my two college degrees did not lead to a professional career; but I discovered that making art was the only activity I really enjoyed. So, I worked at various jobs, bookstores, hardware stores, sales and other entry-level jobs, and some free-lance writing and editing, but it was art-making that was my primary interest. I kept aware of the current trends, to some extent, and responded to other artists along the way that made a special impression, but kept mainly to my own course, adding colors, new-found materials, and other methods that naturally evolved as they developed.

At first, I wanted simply to redirect and reanimate objects that came my way. But gradually, I decided that I wanted to make them more of my own, give them more of my own stamp. And I realized that the most effective way to do this is with color, the entire register of color combinations. The color used in this way, assemblage-wise and detached from any referents, was like sound, I decided, like tones, and the compositions like musical pieces. And of course, such compositions could go in any number of directions. There could be abstract patterned color studies. There could be assemblages of colors that would establish them as in a certain “key,” and with a certain emotional valence. I did a series on the flags or emblems of imaginary countries, colored accordingly. There is another series on “illuminated manuscript letters,” but with the color studies within the frames as the “illuminations” within the imaginary letterforms. The frames had become themselves almost independent assemblages. All I had to do, is to find the right frame done in this way, for the right color composition within. Assemblage within assemblage, keyed accordingly. And there could also be assemblages of colors and shapes and objects presented as surreal compositions, developed on any selected theme; or color studies based on the colors of favorite paintings by favorite artists. There’s really no end to the possibilities.

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AFTERWORDS

BY BRUNO L. DAVID
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I am pleased to present, Assemblages: Reassembled, Repurposed, an exhibition by Saint Louis-based artist Keith Spoeneman. This is the artist’s first solo exhibition with the gallery.

Support for the creation of significant new works of art has been the core to the mission and program of the Bruno David Gallery since its founding in 2005. I would like to express my sincere thanks to Keith Spoeneman for his thoughtful statement. I am deeply grateful to Kenya Mitchell, who gave much time, talent, and expertise to the production of this catalogue. Invaluable gallery staff support for the exhibition was provided by Jenny Rong, Hazel Tao, Kenya Mitchell, and Kalli Brown.

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CHECKLIST & IMAGES OF THE EXHIBITION

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Metaglyph No. 69 2022 Latex, pine, fasteners, asphact panel, luan board 20.50 x 12.75 x 1 inches

Latex, fasteners, luan board, poplar, asphact panel

19.50 x 17.50 x 1.50 inches

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Metaglyph No. 59 2022

Latex, pine, poplar,fasteners, asphact panel, luan board 18.75 x 17.50 x 1.50 inches

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Metaglyph No. 67
2021

22.50 x 17.75 x 1.50 inches

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2021
Metaglyph No. 34 Latex, fasteners, luan board, pine, masonite
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Metaglyph No. 51 2021 Latex, pine, oak, asphact panel, luan board, fasteners 25.25 x 23.25 x 1.25 inches

Latex, poplar, pine, fasteners, asphact panel, luan board

36 x 15 x 1.75 inches

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Metaglyph No. 68
2021

20 x 22.75 x 1 inches

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Metaglyph No. 58 2019 Latex, fasteners, pine, poplar, luan board, masonite

24 x 14.25 x 1.75 inches

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2021
Metaglyph No. 34 (After Stuart Davis) Latex, fasteners, luan board, polplar, pine, masonite
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Metaglyph No. 46 2019 Latex, luan board, fasteners, pine, masonite 26.75 x 22 x 1.5 inches

Latex, fasteners, luan board, pine, masonite

20.50 x 17 x 1.50 inches

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2021
Metaglyph No. 35
22
Metaglyph No. 60 2022 Latex, fasteners, pine, asphact panel 20.25 x 16.75 x 1.5 inches

Latex, fasteners, luan board, pine, polar

24 x 16 x 1.50 inches

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Metaglyph No. 45 2019

Latex, fasteners, pine, poplar, luan board, asphact panel

19 x 16 x 1.75 inches

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Metaglyph No. 61 2021

Latex, fasteners, luan board, pine, plaster lath, foundry pattern

20.50 x 12.75 x 1 inches

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Metaglyph No. 45
2019
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Metaglyph No. 66 2022 Latex, pine, foam board, luan board, asphact panel 23.50 x 18 x 1.25 inches

Latex, fasteners, luan board, pine, poplar, plaster lath

24 x 14.50 x 1.50 inches

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Metaglyph No. 44
2019
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Metaglyph No. 29 2018 Latex, fasteners, pine, poplar, walnut, masonite 23 x 12.75 x 1 inches

Latex, luan board, fasteners, pine, plaster lath

24 x 15 x 1.50 inches

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Metaglyph No. 47
2019
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ARTISTS

Antonio Ainscough

Sara Ghazi Asadollahi

Barry Anderson

Laura Beard

Heather Bennett

Lisa K. Blatt

Michael Byron

Ben Brough

Quinn A. Briceno

Bunny Burson

Lisa Bulawsky

Judy Child

Carmon Colangelo

William Conger

Alex Couwenberg

Terry James Conrad

Jill Downen

Damon Freed

Yvette Drury Dubinsky

Douglass Freed

Adrian Gonzalez

Richard Hull

Mee Jey

Kelley Johnson

Chris Kahler

Leslie Laskey

Justin Henry Miller

James Austin Murray

William Morris

Arny Nadler

Yvonne Osei

Patricia Olynyk

Charles P. Reay

Daniel Raedeke

Tom Reed

Frank Schwaiger

Eric Minh Swenson

Char Schwall

Christina Shmigel

Thomas Sleet

Buzz Spector

Keith Spoeneman

Andrea Stanilav

Cindy Tower

Mario Trejo

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