Brice Bischoff: Liar Channel

Brice Bischoff Liar Channel

Cirrus 2016

Brice Bischoff Liar Channel

March 19, 2016 May 14, 2016 Cirrus Gallery 2011 S. Santa Fe Ave. Los Angeles, CA 90021

Cirrus 2016

Liar Channel Introduction

Cirrus is pleased to present Liar Channel, Brice Bischoff’s second solo exhibition at the gallery. In drawing from the urban storefront and its familiar yet overlooked signage, the installation of photographic and architectural structures, videos and fiberglass sculptures considers how the experience of place is shaped by way of light, reflection and architecture.

The exhibition takes as its starting point a discovery Bischoff made while on a routine walk. Coming across a window that was empty except for a plastic ribbon, with white and red stripes, he noticed the ribbon formed a ‘/’ roughly from the top right corner to the bottom left corner. The glass of the window reflected architecture from across the street, and below, Clear Channel’s logo had been vandalized.

The ‘C’ had been blacked out erasing it, the three horizontal lines of the ‘E’ in ‘CLEAR’ had also been blacked out to create an ‘I’.The logo had been transformed from ‘CLEAR Channel’ into ‘LIAR Channel’.

This trajectory of visual codes sparked an inquiry into our perception of “real space” and the resonant qualities of the familiar.

In the installation, we see structural elements taken from the common window storefront, such as the aluminum frame or the stucco base, to guide us through a visceral experience of the city. But where a glass window should be, there is a photogram and photograph. While the photographs are of various storefronts found by the artist while navigating Los Angeles, the photograms are created by exposing dismantled neon signs onto light sensitive paper. The information in these works has been digitized into pixels and burned onto film manipulated and hacked with software and electricity, mapped and traced, and printed with ink and chemicals. Like Man Ray’s rayographs, Bischoff uses the process of making a photogram to create an abstract work. While Man Ray’s photograms employed the object itself, the gestural blues in Bischoff’s photograms are created by the light from the disused neon sign.

While the photogram brings to mind Man Ray, the use of the storefront is reminiscent of Christo’s 1960s “Storefront” series. While Christo’s concealed storefronts denied access to content, Bischoff’s

Liar Channel reveals numerous layers. In Computer Repair, we believe we are seeing the reflection of our background in what would appear to be a photograph behind glass. It isn’t until further investigation that we realize the photograph is not behind glass, and the landscape actually exists within the image. This subtle scenewithin-a-scene situates the viewer within the frame of the photograph, while physically wedging them between the information in the window and their own background.

This inquiry into the depths of an image can be seen as a parallel to how we engage with social media in our everyday. Accompanying Bischoff’s storefronts, are resin sculptures whose reflective surface inclines viewers to take a selfie with the work. This type of interaction negates the objectness of the sculpture, as its image is co-opted by the viewer and negotiated on the web. As the work is taken out of the non-virtual environment, similar to the experience of passing a window storefront, its presence becomes a ghostly afterimage of the viewer’s experience.

Liar Channel Cont.

Brice Bischoff is originally from New Orleans, and is currently based in Los Angeles. He received his MFA from the San Francisco Art Institute in 2007, and his BFA from Louisiana State University. His most recent exhibitions include The Glassell Park Series, Regina Rex, Camera Club of New York, Santa Cruz Museum of Art, bäckerstrasse 4 in Vienna and the US Embassy in Berlin. In 2013 he was selected to be a part of the Orange County Museum of Art’s California Pacific Triennial, and in 2010, he was a participating artist in New Orleans’ Prospect 1.5 Biennial. His work can be found a number of notable private and public collections, including the Orange County Museum of Art, the New Orleans Museum of Modern Art, the Los Angeles County Museum of Art, and the Ogden Museum of Art. This will be Bischoff’s second solo show at Cirrus Gallery.

Night Drive (Side A) 2014, projection on unique c-print mounted on sintra, neon burns, aluminum, UV lamination, stucco base 55 1/2” x 13” x 52”

Computer Repair (Side A) 2015, unique c-print mounted on sintra, neon burns, aluminum, UV lamination 46 3/4” x 53 1/4” x 4”

Computer Repair (Side B) 2015, archival pigment print, aluminum, UV lamination 46 3/4” x 53 1/4” x 4”

Koreatown Dentist (Side A) 2015, unique c-print mounted on sintra, neon burns, aluminum, retro-reflective fabric, UV lamination, stucco base 76 1/2” x 31” x 12 3/4”

Koreatown Dentist (Side B) 2015, archival pigment print, aluminum, retro-reflective fabric, UV lamination, stucco base 76 1/2” x 31” x 12 3/4”

Heads of Beauty 2015, unique c-print mounted on sintra, neon burns, aluminum, UV lamination, stucco base 41” x 53” x 4 1/2” Series of five unique works

Untitled 2015, retro-reflective fabric, fiberglass, epoxy resin, steel base Dimensions variable (approx. 50” x 36” x 16”)

Barber Shop (Side A) 2016, unique c-print mounted on sintra, neon burns, aluminum, UV lamination, stucco base, ink-jet on linen curtain 75 1/2” x 86” x 12 1/2”

Barber Shop (Side B) 2016, archival pigment print, aluminum, UV lamination, stucco base, ink-jet on linen curtain 75 1/2” x 86” x 12 1/2”

We Accept EBT (Side A) 2015, unique c-print mounted on sintra, neon burns, aluminum, UV lamination 36” x 26 1/4” x 4”

We Accept EBT (Side B) 2015, archival ink-jet print, aluminum, UV lamination 36” x 26 1/4” x 4”

Blind <3 2015, unique c-print mounted on sintra, neon burns, aluminum, UV lamination 53” x 51” x 5”

Untitled 2015, retro-reflective fabric, fiberglass, epoxy resin Dimensions variable

A 2015, unique c-print mounted on sintra, neon burns, aluminum, UV lamination 34 1/4” x 44 1/4” x 4”

Sleep 2015, unique c-print mounted on sintra, neon burns, aluminum, UV lamination 34 1/4” x 44 1/4” x 4”

Dancers (above) 2015, unique c-print mounted on sintra, neon burns, aluminum, UV lamination, steel neon frame 34 1/4” x 44 1/4” x 4” Untitled (opposite) 2016, unique c-print mounted on sintra, neon burns, aluminum, UV lamination 39 1/2” x 76 3/4”

Untitled 2016, retro-reflective fabric, fiberglass, epoxy resin Dimensions variable (approx. 23 1/2” x 14” x 3”)

Untitled (opposite) 2015, retro-reflective fabric, fiberglass, epoxy resin, steel base Dimensions variable (approx. 50 1/2” x 49” x 39”) Untitled (above) 2015, retro-reflective fabric, fiberglass, epoxy resin Dimensions variable (approx. 36” x 32” x 32”)

Untitled 2016, single channel video 8m 55s loop Edition of 5

Display (Side A) 2016, unique c-print mounted on sintra, neon burns, aluminum, UV lamination 64” x 43 1/2” x 15”

Display (Side B) 2016, archival ink-jet print, aluminum, UV lamination 64” x 43 1/2” x 15”

Liar Channel Pricelist

Computer Repair (Side A) 2015 (2 sided) Unique c-print mounted on sintra, neon burns, archival pigment print, aluminum, UV lamination 46 3/4” x 53 1/4” x 4” $8,500

Barber Shop (Side A) 2016 (2 sided) Unique c-print mounted on sintra, neon burns, archival pigment print, aluminum, UV lamination, stucco base, ink-jet on linen curtain 75 1/2” x 86” x 12 1/2” $12,000

Untitled 2016 Retro-reflective fabric, fiberglass, epoxy resin Dimensions variable (approx. 23 1/2” x 14” x 3”) $1,500

Untitled 2016 Retro-reflective fabric, fiberglass, epoxy resin Dimensions variable (approx. 36” x 32” x 32”) $4,500

Dancers 2015 Unique c-print mounted on sintra, neon burns, aluminum, steel neon frame, UV lamination 34 1/4” x 44 1/4” x 4”” $4,500

Blind <3 2015 Unique c-print mounted on sintra, neon burns, aluminum, UV lamination 53” x 51” x 5” $6,500

Untitled 2016 Retro-reflective fabric, fiberglass, epoxy resin, steel base Dimensions variable (approx. 50 1/2” x 49” x 39”) $4,500 We Accept EBT (Side A) 2015 (2 sided) Unique c-print mounted on sintra, neon burns, archival pigment print, aluminum, UV lamination 36” x 26 1/4” x 4” $4,500

A 2015 Unique c-print mounted on sintra, neon burns, aluminum, UV lamination 34 1/4” x 44 1/4” x 4” $4,500

Sleep 2015 Unique c-print mounted on sintra, neon burns, aluminum, UV lamination 34 1/4” x 44 1/4” x 4” $4,500

Koreatown Dentist (Side A) 2015 (2 sided) Unique c-print mounted on sintra, neon burns, aluminum, retro-reflective fabric, UV lamination, stucco base 76 1/2” x 31” x 12 3/4” $5,500

Untitled 2016 Unique c-print mounted on sintra, neon burns, aluminum, UV lamination 39 1/2” x 76 3/4” $8,500

Untitled 2015 Retro-reflective fabric, fiberglass, epoxy resin Dimensions variable $4,500

Untitled 2015 Retro-reflective fabric, fiberglass, epoxy resin, steel base Dimensions variable (approx. 50” x 36” x 16”) $4,500

Heads of Beauty 2015, Ed. 1 of 5 Unique c-print mounted on sintra, neon burns, aluminum, UV lamination, stucco base 41” x 53” x 4 1/2” $5,500

Night Drive 2014 (2 sided) Projection on unique c-print mounted on sintra, neon burns, aluminum, UV lamination, stucco base Untitled 55 1/2” x 13” x 52” 2016 $6,500 Single channel video 8m 55s loop $6,500 Edition of 5

Display (Side A) 2016 (2 sided) Unique c-print mounted on sintra, neon burns, archival pigment print, aluminum, UV lamination 64” x 43 1/2” x 15” $12,000

Contact: Jean R. Milant Gallery Hours Tues-Sat, 10am-5pm www. cirrusgallery.com • cirrus@cirrusgallery.com CONTEMPORARY PAINTING AND SCULPTURE • PUBLISHERS OF FINE ART GRAPHICS 2011 South Santa Fe Avenue, Los Angeles, California 90021 • T 213.680.3473

Brice Bischoff CV

BORN

1982 New Orleans, LA

EDUCATION

MFA, San Francisco Art Institute, 2007 BFA, Photography, Louisiana State University, 2004

PERMANENT COLLECTIONS

Los Angeles County Museum of Art New Orleans Museum of Art Louisiana State University Art Museum Ogden Museum of Southern Art

SELECTED SOLO EXHIBITIONS

2013 Glassell Park Series, Cirrus Gallery, Los Angeles, CA 2012 Bronson Caves, Kopeikin Gallery, Los Angeles, CA NONILLION: Brice Bischoff, Joe Brittain and Katy Fischer, Regina Rex Gallery, New York, NY 2011 Bischoff, Soren, Black, Johansson Projects, Oakland, CA 2010 Prospect 1.5, curated by Dan Cameron, “Persistent, Transient Objects”, Lemieux Gallery, New Orleans, LA

SELECTED GROUP EXHIBITIONS

2014 Specters of the West, curated by Claudia Slanar, bäckerstrasse 4, Vienna, Austria Lay of the Land, curated by Farrah Karapetian, Von Lintel Gallery, Los Angeles, CA 2013 California-Pacific Triennial, Orange County Museum of Art, Newport Beach, CA Allegory | Cave, Coastline Community College Art Gallery, Newport Beach, CA Journey Forth, Santa Cruz Museum of Art, Santa Cruz, CA

Foundation, Novato, CA Beyond the Barrier, Camera Club of New York, New York, NY Glassell Park Series, Cirrus Gallery, Los Angeles, CA 2012 Narcissism: the Real, the Fake, and the Anti-Digital Impulse, Cirrus Gallery, Los Angeles, CA Bronson Caves, Kopeikin Gallery, Los Angeles, CA Immaterial Ergonomics, Space for Art, San Diego, CA NONILLION: Brice Bischoff, Joe Brittain and Katy Fischer, Regina Rex Gallery, New York, NY 2011 SVIT LA curated by Zuzana Blochova, Baxter St. Apt., Los Angeles, CA Time, The Lab, San Francisco, CA Bischoff, Soren, Black, Johansson Projects, Oakland, CA 2010 Prospect 1.5, curated by Dan Cameron, Persistent, Transient Objects, Lemieux Gallery, New Orleans, LA Prospect.1.5, curated by Dan Cameron, NOCCA Institute Gallery, New Orleans, LA Edges of Light, Arts Benicia, Benicia, CA Dump Art, Freudenreich Gallery, Berlin, Germany Alchemy, Southern Exposure, San Francisco, CA 2009 The Children of the Revolution, curated by Keith Boadwee, Federal Art Project, Los Angeles, CA Front + Center, Headlands Center for the Arts, Marin County, CA Bad Moon Rising, curated by Jessica Silverman and Jan Van Woensel, Boots Contemporary, St. Louis, MO 2008 Way Down In New Orleans, Civilian Art Projects, Washington D.C., and The Front, New Orleans, LA Pinhole Photo Art Society, Tokyo Exhibition, Engetsu Gallery, Shijuku, Tokyo 2007 Pinhole Planet, Gallery Maru Sankaku Shikaku, Kyoto, Japan Self Made Artists Summer Tour 2007,

Big Bend Contemporary Gallery, Tallahassee, FL Young Blood Gallery, Atlanta, GA Athens Institute of Contemporary Art, Athens, GA Civilian Art Projects, Washington D.C. Yale University School of Art, New Haven, CT G-A-S-P Gallery, Boston, MA R.A.G.S. Gallerie, Montreal, Canada Museum of New Art, Detroit, MI Llyod Dobbler Gallery, Chicago, IL Sweet Hickory Records, Bloomington, IN Fort Gondo Compound for the Arts, St. Louis, MO JLOFTS, Omaha, NE Mass Gallery, Austin, TX Warsaw Festival Of Fine Art Photography, Academy of Fine Arts Gallery for New Media, Warsaw, Poland New Orleans, Diego Rivera Gallery, San Francisco, CA VERNISSAGE, San Francisco Art Institute MFA Exhibition, Fort Mason, Herbst Pavilion, San Francisco, CA Warsaw Festival Of Fine Art Photography, Academy of Fine Arts Gallery for New Media, Warsaw, Poland New Orleans, Diego Rivera Gallery, San Francisco, CA 2006 GEN ART: EMERGE, Warfield Building, San Francisco, CA Immediate Future, San Francisco Arts Commission Gallery, San Francisco, CA 2005 Recent Acquisitions In Contemporary Photography: Works From the Ogden Museum Permanent Collection, Ogden Museum of Southern Art, New Orleans, LA HONORS

Murphy & Cadogan Fellowship Award, San Francisco Foundation, 2006

BIBLIOGRAPHY

2014 Jacob Grossman, Brice Bischoff, UNDR RPBLC 2013 Evan Senn, Dynamic Exchange: The Pacific Rim Triennial, KCET:Artbound Joy Celine, Brice Bischoff and His Revelry With Light and

Colors, Lomography Magazine Leora Lutz, Review: “Journey Forth: Contemporary Landscape Between Technology and Tradition” group exhibition at Gallery Wendi Norris in San Francisco, San Francisco Arts Quarterly DeWitt Cheng, Journey Forth, Visual Art Source Dave Barton, OCMA’s California-Pacific Triennial Is Pacific Rim, Minus Giant Robots, OC Weekly Dave Barton, ’California-Pacific Triennial’: Littler Big Show, LA Weekly Hunter Drohojowska-Philp, The California-Pacific Triennial at OCMA, KCRW: Art Talk John Mahony, On the Wall: A Colorful Miasma In the Bronson Caves, American Photo Magazine Emily Marucci, Falling Sparkles of Light, SHK Magazine Jakob Schiller, Hollywood Cave Photos Inspired by Sci-Fi Monsters, Avant-Garde Porn and Batman, WIRED Magazine Claudia Slanar, The Uncertain Photograph’s Unleashed Objects: About Brice Bischoff’s Glassell Park Series, Cirrus Gallery Catalogue Catherine Wagley, Psychedelic Set Pieces, LA Weekly LECTURES

2011 Katy Donoghue, Dan Cameron, Whitewall Magazine Matt Sussman, Caves of Forgotten Dreams, San Francisco Bay Guardian Sarah Hotchkiss, Bischoff Soren Black at Johansson Projects, KQED Arts D. Eric Brookhardt, Rising Stars, Gambit New Orleans 2010 Zachary Royer Scholz, Alchemy, Art Practical Issue 11 2008 Eric Renner, Pinhole Photography, Fourth Edition: Rediscovering an Historic Technique, Focal Press 2007 Jessica Smith, Tour Takes Fans Back To Athens’ Music Roots, Red and Black Newspaper

Artist text courtesy of Salomeh Grace and Brice Bischoff Installation images courtesy of Brice Bischoff, Justin Lubliner, and Carter Seddon.

Catalog design by Nico Hernandez For more information visit www.cirrusgallery.com

Cirrus 2016

ISBN 978-1-329-93168-8

90000

9 781329 931688