DALLAS ART FAIR APR 06 – APR 09, 2017
BOOTH B3
FRANS HALSSTRAAT 26 1072BR AMSTERDAM
FRANS HALSSTRAAT 26 1072 BR AMSTERDAM
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GRIMM
MATTHIAS WEISCHER 1973, Elte (DE)
Pin Casso 2014
Oil on canvas 110 x 82 cm | 43.3 x 32.3 in
The paintings by German artist Matthias Weischer’s (DE, 1973) predominantly oscillate between the real and the imagined. Weicher is particularly renowned for his extraordinary painting technique. Speaker II (2016) depicts a lonely figure on a stage, although the scene seems isolated from the world and the audience remains invisible to the viewer. Pin Casso (2014) is an arthistorical allegory of references ranging from Roy Lichtenstein to Picasso, both in painting style and in imagery.
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FRANS HALSSTRAAT 26 1072BR AMSTERDAM
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MATTHIAS WEISCHER 1973, Elte (DE)
Speaker II 2016 Oil on canvas 32 x 41 cm | 12 5/8 x 16 1/8 in
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NICK VAN WOERT 1979, Reno, NV (US)
It’s a trap 2016
Acrylic, urethane, plywood, steel frame 45.7 x 61 x 5.1 cm | 18 x 24 x 2 in
NICK VAN WOERT 1979, Reno, NV (US)
It’s a trap (I told you twice) 2016
Acrylic, urethane, plywood, steel frame 45.7 x 61 x 5.1 cm | 18 x 24 x 2 in
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LETHA WILSON 1976, Honolulu, HI (US)
Painted Hills Concrete Bend (Red White Blue) 2017
Unique C-prints, concrete, emulsion transfer, aluminum frame 87.6 x 72.4 x 4.4 cm | 34 1/2 x 28 1/2 x 1 3/4 in
Letha Wilson (US, 1976) presents Painted Hills Concrete Bend (Red White Blue) (2017), a new work combining photography with materials like concrete and steel. Wilson cuts, tears and shapes her photographs, pushing and pulling the prints into place and then encases portions of the composition in cement. She explores the magnetic pull of the American West, alluding to landscape’s intrinsic role in our own myths of reinvention, endless possibility, and inevitable promise. Painted Hills Concrete Bend (Red White Blue) was recently exhibited in Wilson’s solo exhibition at the Center for Contemporary Art and Culture at PNCA, Portland.
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CAROLINE WALKER 1982, Dunfermline (UK)
Evening at Beauty Box Study I 2017
Oil on paper, framed Paper size: 64.2 x 47.2 cm | 25 1/4 x 18 5/8 in
Scottish painter Caroline Walker (UK, 1982) presents three oil on paper scenes from London beauty salons that are a continuation of a series of work that has recently been on view in Walker’s solo exhibition Painted Ladies at Space K in Gwacheon, South Korea. Caroline Walker often explores a specific theme through multiple works.
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CAROLINE WALKER 1982, Dunfermline (UK)
Painted Ladies
FRANS HALSSTRAAT 26 KEIZERSGRACHT 241 +31 (0) 20 675 24 65 INFO@GRIMMGALLERY.COM 1072BR AMSTERDAMInstallation 1016EA AMSTERDAM NETHERLANDS WWW.GRIMMGALLERY.COM view at THE Space K, Gwacheon (KR), 2017
CAROLINE WALKER 1982, Dunfermline (UK)
Study for Bombshell Nails I 2017
Oil on paper, framed Paper size: 43.2 x 60.8 cm | 17 1/8 x 24 in
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CAROLINE WALKER 1982, Dunfermline (UK)
Study for Pampered Pedis II 2017
Oil on paper, framed Paper size: 37.5 x 29.5 cm | 14 3/4 x 11 5/8 in
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MATTHEW DAY JACKSON 1974, Panorama City, CA (US)
Final Barnstorming 2013
Plastic, iron oxide, lead on panel, stainless steel frame 163.8 x 125.7 x 7.6 cm | 64 1/2 x 49 1/2 x 3 in
Based on a Life Magazine cover featuring an image from the Apollo 10 space mission, Final Barnstorming (2013) by Matthew Day Jackson (US, 1974) perfectly encapsulates the artist’s interest in the continued influence of America’s past on its current political and social landscape. Throughout the 1940s to 1960s, Life Magazine became the pictorial witness of US “progress,” chronicling both the postwar nuclear era and the Space Race in its weekly magazine. With Final Barnstorming, Jackson engenders an elegiac contemplation of technological opportunity and loss in the atomic age and the Space Race, with promised utopias squandered and perverted.
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Matthew Day Jackson’s June 6, 1969 (2010), from the same series as Final Barnstorming, is part of the collection of the High Museum of Art in Atlanta (GA).
Matthew Day Jackson, June 6, 1969 High Museum of Art collection, Atlanta GA
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JONATHAN MARSHALL 1981, Morgantown, WV (US)
Everything (Abridged/Condensed) 2017
Ink, acrylic on paper, artist frame Paper size: 70 x 64 cm | 27 1/2 x 25 1/4 in
Jonathan Marshall (US, 1981) blurs the lines between disciplines and material approaches to making art, as a way of understanding his position in time, space, and culture. For Dallas, Marshall is presenting three new mind map drawings, that are a continuation of his ideas about the history of mankind as well as the chains of consumption and production. In the artist’s own words: “making things is a process by which to explore a universe out of reach, from within the limitations of our finite form.” Jonathan Marshall’s work is included in the Blanton Museum of Art collection, Austin, TX (US) and has recently been exhibited in Museum Beelden aan Zee, Scheveningen (NL) and the Drents Museum, Assen (NL).
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JONATHAN MARSHALL 1981, Morgantown, WV (US)
The Rise and Fall of Life on Earth 2017
Ink, acrylic, graphite, ink-jet prints and paper on panel 83.8 x 71.1 cm | 33 x 28 in
JONATHAN MARSHALL 1981, Morgantown, WV (US)
Space Thrillers 2017
Ink, acrylic, graphite and paper on panel 71.1 x 55.9 cm | 28 x 22 in
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William Monk (UK, 1977) is presenting a new oil painting titled, Smoke Ring Mountain (deep yellow) (2017) at Dallas Art Fair. The painting features mountains and rising halos in the foreground of an epic sunset of streaking yellows, oranges and pinks. Monk creates universes within his paintings that reflect on the relationship of the object and spectator. Smoke Ring Mountain (deep yellow) is loosely reflecting on the landscape of Pompeii, an ancient Roman town near modern Naples in Italy. Although Monk uses Pompeii’ scenery as a point of departure, the landscape in Smoke Ring Mountain (deep yellow) has been boldly transformed through a psychedelic lens. This psychedelic universe invites the viewer for a closer look to explore the large color fields and the small detailed dots of paint that fill enclosed areas.
WILLIAM MONK 1979, Kingston-upon-Thames (UK)
Smoke Ring Mountain (deep yellow) 2017
Oil on canvas, artist frame 83.8 x 101.6 cm | 33 x 40 in
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VOLKER HÜLLER 1976, Forchheim (DE)
American Psycho 2017
Oil and acrylic on canvas, artist frame 86.5 x 71 cm | 34 1/8 x 28 in
Volker Hüller’s (DE, 1976) American Psycho (2017) depicts a reclining female figure in the foreground with two male figures observing from the background. The painting is loosely based on American Psycho, a movie adaptation of the famous novel by Bret Easton Ellis. As with most of Hüller’s work, the shapes and meaning are fragmented and interconnected. Hüller articulates a strange tension between the figures, whose bodies are blending in with one-another and capturing the idiosyncrasies of movement.
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ERIC WHITE 1968, Ann Arbor, MI (US)
Down In Front: The Company She Keeps 2014-2017
Oil on canvas 55.9 x 152.4 cm | 22 x 60 in
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DAVE MCDERMOTT 1974, Santa Cruz, CA (US)
Untitled 2016
Oil on panel 35.6 x 27.9 cm | 14 x 11 in
DAVE MCDERMOTT 1974, Santa Cruz, CA (US)
Somewhere (1) 2016
Oil, 23K gold on panel 35.6 x 27.9 cm | 14 x 11 in
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DAVE MCDERMOTT 1974, Santa Cruz, CA (US)
Figure in interior with guitar 2016
Oil, collage on panel 35.6 x 27.9 cm | 14 x 11 in
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