2006–2007
511
west 25 th street, new york, ny www.cueartfoundation.org
10001
jac k h a l l b e r g
jac k hallberg
CUE Art Foundation
December 7, 2006 - January 27, 2007
Curated by Dave Hickey
this Exhibition supported in part by
Compass Diversified Trust
LEAD SPONSOR OF 2006-07 SEASON OF EXHIBITION CATALOGUES: KYESUNG PAPER GROUP (SOUTH KOREA) ADDITIONAL SUPPORT PROVIDED BY ELIZABETH FIRESTONE GRAHAM FOUNDATION
Foreword
CUE Art Foundation
Artist Statement
Jack Hallberg
We are honored to host this exhibition generously curated by Dave Hickey. Mr. Hickey, a writer
The first painting that had an impact on me was Seurat’s La Grande Jatte. I was eight years old.
and critic, has chosen Jack Hallberg; an artist from Las Vegas, Nevada. Mr. Hickey’s appreciation
My class was on a field trip to the Chicago Art Institute. I didn’t respond at first glance but, as
of Mr. Hallberg’s work demonstrates how the Foundation’s discretionary selection process allows
I approached the painting, it seemed to come alive, to transform itself into a sea of pieces that
for a natural cross-pollination between differing forms of expression.
comprised the whole. I must have walked back and forth in front of Seurat’s painting a dozen
times watching it change, confused by the fact something could seem so complete and so
CUE appreciates that geographic location can sometimes limit an artist’s
exhibition possibilities elsewhere, thus CUE is pleased to offer Mr. Hallberg the opportunity for
fractured, intrigued by the fact that it could make me respond physically. I felt like I had a unique
his first solo exhibition in New York. Mr. Hickey and we, together, wish him a future of fulfillment
personal relationship with this inanimate object. I liked the dots and the spaces between the dots.
and success.
I liked the whole experience, and I am always trying to recreate that sense of wonderment in my own paintings, trying to make work that is visually and socially engaging, playful, artificial and well defined, like a welcome guest at a wonderful party.
Curator’s Statement
Dave Hickey
Jack Hallberg was my student in the early 1990s. He has been my friend and neighbor ever since. He is also, for me, a living repudiation of the idea that artists develop. In fact, artists decide. For about a year after Jack arrived in Las Vegas, he made bad paintings. Then one day he just got sick of it. He began making good paintings, and he has made them ever since, steadily and without complaint through a virtual tsunami of accident, illness and personal disaster. During this onslaught, Hallberg’s paintings never lost an iota of their goofy, meticulous, good-hearted, ebullience. I have no idea how he has managed this or where the paintings come from.
They are full of art history, of course, and I can cite references. Seurat? Certainly.
Pollock? Of course, but through Lichtenstein. West Coast abstraction? Absolutely. Ultralounge Vegas, Sci-Fi Surrealism and Kenny Scharf? Without a doubt. But none of these references address or explain the charm and equanimity of Hallberg’s paintings. I can only suggest that they share these virtues with paintings they do not much resemble by Elizabeth Murray, John Wesley and Peter Saul and that the work of all these artists exudes a level of good humor and self-possession that is daunting for its sheer lack of neediness and aggression. On a cultural battlefield full of striding warriors and calculating strategists who demand our awe and attention, strewn with bloody victims demanding our care and sympathy, high physical comedy can be challenging and intimidating. It can seem like an insult to the entire endeavor, because it is one thing to abandon drama for theater. That is the contemporary move. It is quite another thing to abandon theater for high-hearted conversation, because solemnity is not an option in everyday talk. So these questions arise. How dare these artists, at this rich and profligate moment, seem to need so little? How dare they seem be having so much fun? How dare they tempt us into the daylight?
1293…
2005 Acrylic on panel, 24" x 48"
1130‌
2005 Acrylic on panel, 24" x 48" Details at right
Water Street Bridge
2005 Ektachrome print 6" x 3.8" Edition of 10
931‌
2005 Acrylic on panel, 24" x 48"
Details at right
Water Street Bridge 2005 Ektachrome print 6" x 3.8" Edition of 10
1007‌
2006 Acrylic on panel, 24" x 48" Details at right
545‌
2005 Acrylic on panel, 36" x 72"
Details at right
2103‌
2006 Acrylic on panel, 36" x 72" Details at right
2823‌
2006 Acrylic on panel, 72" x 84" (diptych) Details at right
Biographies
Jack hallberg
Jack Hallberg was born on May 17, 1963 in Rockford, IL. He grew up in Rockford with his parents and his three sisters in a house his father built. One of Jack’s earliest memories is of going up into the attic with his father. The floor joists were exposed and the ceiling topped out at five-feet. Over the course of the weekend, his father single handedly raised the roof four feet in preparation for two new bedrooms and a bathroom. From this, Hallberg drew the inference that people could, if they wished, do what they wanted to do. In public school, Hallberg tested high and scored low. He was considered a “problem child” but he could draw like an angel. After high school, he went to work, made some money, bought some things, and decided he would rather be an artist. He attended the University of Illinois, won a graduate scholarship to the University of Nevada, Las Vegas and began exhibiting his painting. Today he lives in Las Vegas, teaches part time and makes paintings.
Dave Hickey
Dave Hickey is a freelance writer of fiction and cultural criticism, a curator and lecturer. He has written for most major American cultural publications about a great many artists, writers and musicians. He has published a volume of short fiction, Prior Convictions: Stories from the Sixties (Southwest Life and Letters), with the SMU Press. His critical essays on art have been collected in two volumes published by Art Issues Press, The Invisible Dragon: Four Essays on Beauty (1993) and Air Guitar: Essays on Art and Democracy (1998). His book, Stardumb (Artspace Books, 1999), is a collection of stories with drawings by artist John de Fazio. He has two books in production at the University of Chicago Press: Connoisseur of Waves: More Essays on Art and Democracy (2006) and Feint of Heart: Essays on Individual Artists (two volumes) (2008), as well as a new edition of The Invisible Dragon. His curating projects include: Beau Monde: Toward a Redeemed Cosmopolitanism, SITE Santa Fe’s Fourth International Biennial in Santa Fe, NM (2002); The California School (2004) and Step into Liquid (2005) at the Ben Maltz Gallery at the Otis College 1023…
2004 Acrylic on panel, 24" x 48"
Details at right
of Art & Design, CA; and Edward Ruscha: The Long View at the Museo Tamayo Arte Contemporáneo in Mexico City (2006).
Mission Statement
CUE Art Foundation
CUE Art Foundation, a 501 (c)(3) non-profit arts organization,
Board of Directors
is dedicated to providing a comprehensive creative forum for
Gregory Amenoff
contemporary art by supporting under-recognized artists via a
Theodore S. Berger
multi-faceted mission spanning the realms of gallery exhibitions,
Patricia Caesar
public programming, professional development programs and
Thomas G. Devine
arts-in-education. The Foundation was established in June of 2002
Thomas K. Y. Hsu
with the aim of providing educational programs for young artists
Brian D. Starer
and aspiring art professionals in New York and from around the country. These programs draw on the unique community of artists,
Advisory Council
critics, and educators brought together by the Foundation’s season
Gregory Amenoff
of exhibitions, public lectures, workshops, and its studio residency
William Corbett
program: all are designed to be of lasting practical benefit to
Vernon Fisher
aspiring and under-recognized artists. The entire CUE identity is
Malik Gaines
characterized by artistic quality, independent judgment and the
Deborah Kass
discovery of genuine talent, and provides long-term benefits both
Kris Kuramitsu
for creative individuals associated with CUE and the larger art
Jonathan Lethem
marketplace. Located in New York’s Chelsea gallery district, CUE’s
Irving Sandler
4,500 square feet of gallery, studio and office space serves as the nexus for educational programs and exhibitions conducted by CUE.
executive Director
Jeremy Adams Director of development Cover image: 2823… (detail), 2006, Acrylic on panel, 72" x 84"
Elaine Bowen
ISBN: 0-9776417-7-5 programs All artwork © Jack Hallberg
coordinator
Photo credit: Max Bromwell
Beatrice Wolert-Weese
Catalog designed by Elizabeth Ellis programs assistant Printed on TriPine paper of KyeSung Paper Group (South Korea) Cover: TriPine Art Nouveau 209gsm (78lb), Text: TriPine Silk 157gsm (106lb) Printer: Yon Art Printing (South Korea)
Kara Smith