Out of Time by Marlborough Gallery

OUT OF TIME

Cover image: Raymond Mason; The Latin Quarter, 1988-89 (detail); polyester, resin, and acrylic, unique 122 × 1373/4 × 783/4 in. / 309.9 × 349.9 × 200 cm Photo by Pierre Le Hors

Michael Anderson Grisha Bruskin Steven Campbell Jorge Castillo John Davies Vincent Desiderio TR Ericsson Red Grooms Bill Jacklin Raymond Mason Tom Otterness Grear Patterson Larry Rivers Guillermo Roux December 1, 2021—January 22, 2022 545 W 25th Street, New York, NY 10001

Michael Anderson 1968 – 2020

Michael Anderson was a self-taught native New York based collage artist. Visceral in his approach, Anderson culled found images from posters to form a wide range of references such as mythology, religion, history, and philosophy. Utilizing a mosaic approach to create his collages, Anderson simultaneously eulogizes and dissects his source images, creating enticing and sometimes terrifying worlds. In Sirens (2004) images of two women have been collaged into fantastical garments set against a flat picture plane on an aqua blue background, alluding to a seascape. Anderson subverts the classic Greek mythology of the half bird half woman creature who lures sailors to shipwreck by enchanting them with their singing through his contemporary approach to collage. In Anderson’s world, the sirens reflect the experience of contemporary life with a twinge of humor.

Sirens, 2004 (detail) telephone booth advertisements with street poster collage overlay between plexiglas with steel bolts 50 × 26 in. / 127 × 66 cm

Grisha Bruskin b. 1945

Grisha Bruskin is a contemporary Russian artist whose work juxtaposes Jewish iconography and Soviet Union-era symbols. As many Jewish people of his generation, Bruskin grew up oblivious to his Jewish heritage under the Soviet Union, and it was not until the late 1970s that he began studying Jewish tradition, which serves as a huge influence in his work. The On the Edge (2001 – 2003) series comprises of painted bronze sculptures which give way to Soviet era monuments. With subtle irony, Bruskin investigates the implication of depiction and deliverance and unravels the myths associated with Judaism and the Soviet Union.

Wandering Jew, 2001–03 (detail) from “On the Edge” series painted bronze, unique 471/4 × 161/2 × 125⁄8 in. / 120 × 42 × 32 cm

Steven Campbell 1953 – 2007

Steven Campbell was a Scottish figurative painter who created dramatic yet humorous expressionistic works with roots in performance art. Interested in an art historical approach, Campbell created works which are anchored in the canon of art history and theory. The martyrdom of St. Sebastian is one of the most prevalent themes in western religious art. The saint can be identified by the black arrows which pierce his body. In St. Sebastian—Curtain (1992), Campbell makes reference to this prominent art historical motif, while simultaneously time infusing the work with a highly theatrical element which is present throughout his oeuvre. In Campbell’s interpretation, St. Sebastian appears from behind a curtain as ominous onlookers witness the martyrdom.

St. Sebastian—Curtain, 1992 (detail) oil on canvas 865⁄8 × 76 in. / 220 × 193 cm

Jorge Castillo b. 1933

Jorge Castillo is Spanish painter, sculptor, and graphic artist. Though the artist has made notable contributions to Surrealism and Art informel, Castillo’s work transcends any traditional classifications. From the River (1989) depicts a scene of the skyline of lower Manhattan. Castillo asserts that New York inspires him to create in his favorite way, which is to investigate the work of masters, and produce a synthesis. Castillo says: The city is like a complex text with many errors but extraordinary significance. Here everything seems relevant, to the point—the great painters of earlier periods, modern masters, everything.

From the River, 1989 (detail) acrylic on canvas 70 × 60 in. / 177.8 × 152.4 cm

John Davies b. 1946

John Davies is a Scottish figurative sculptor and painter. Focused on the reactive, Davies creates visceral works that evoke for the viewer an eternal human experience. Davies’s work is votive in function, as the art becomes an offering to the subject and to the audience. Fascinated with the human face, Davies’s oeuvre concentrates on figurative works. Presented here are several busts which celebrate a deep interest in the human form and expression.

Bronze Head Painted, 1987-88 oil and acrylic painted bronze, unique 225⁄8 × 121/4 × 121/4 in. / 57.5 × 31.1 × 31.1 cm

Vincent Desiderio b. 1955

Vincent Desiderio is a representational painter drawing inspiration from art history as well as his personal experiences. Interested in hyper-realistic narratives, Desiderio creates paintings that are extraordinarily detailed, sometimes even grotesquely so. Nude II (2008) depicts a nude female form sprawled out on a bed. With a vantage point angled directly above where the woman lays, the painting becomes highly voyeuristic in nature. In Laughing Woman (2021), a woman stands at the bottom of a dimly lit staircase, her mouth agape, cackling, the strong chiaroscuro adding an ominous element to the work.

Laughing Woman, 2021 (detail) oil on canvas 90 × 57 in. / 228.6 × 144.8 cm

TR Ericsson b. 1972

TR Ericsson is a contemporary artist whose works deals with concepts of grief and mourning. Following his mother’s suicide in 2003, Ericsson amassed an archive that would provide the foundation for his ongoing series Crackle & Drag. The archive is comprised of letters, records, and family photographs which Ericsson has fashioned onto traditional mediums such as canvas, film, photography, and clay, while simultaneously utilizing unconventional materials such as found objects from his childhood home, pulverized medications, and his mother’s funerary ash.

Scarecrow, 2014 (detail) graphite, resin, and funerary ash on panel 30 × 20 in. / 76.2 × 50.8 cm

Red Grooms b. 1937

Red Grooms is an American multimedia artist notable for his vibrant and eclectic portrayals of urban life. As a resident of New York for over sixty years, Grooms draws much of his inspiration from the city and has created many iconic transitory moments of the city and invented characters of its denizens. Fashioned from packaging materials from French brands, Demoiselles de Marseilles (1984) is a mixed media sculpture that portrays three women of southern France. Overly adorned in jewelry and gaudy in appearance, the Demoiselles serve as a testament to Grooms’s playful approach to his work. Marco Livingstone writes of Grooms’s process: It was not the visual artifacts of contemporary culture that caught his attention—the consumer goods, printed matter, and televised or photographic representations of modern life—so much as the ad-hoc way of living he encountered, the human dimensions of the consumer society in all its messy glory. Demoiselles de Marseilles, 1984 (detail) mixed media construction, unique 27 × 341/4 × 151⁄8 in. / 68.6 × 87 × 38.4 cm

Bill Jacklin b. 1943

Bill Jacklin is a British artist whose work acutely renders the visual effects light and shadow. Beginning as an abstract artist who later veered towards figuration, Jacklin romantically and delicately captures the movement of the forms in his paintings. Inspired by the energy of the city, Jacklin composed a multitude of New York scenes following his move to the city in 1985. In Ice Skaters in Central Park II, Jacklin depicts a cluster of ice skaters in wintertime scene, their shadows lit by the soft silver light that breaks through hazy pastel-colored clouds.

Ice Skaters in Central Park II, 1989 (detail) oil on canvas 42 × 36 in. / 106.7 × 91.4 cm

Raymond Mason 1922 – 2010

Raymond Mason was a sculptor most notable for his depictions of tightly packed crowds. Working in both high and low relief, Mason would create colorful representations of packed city squares. The Latin Quarter, a work triggered by the student march of December 10, 1986 when 600,000 people joined to protest the violent death of the young student Malik Oussekine, follows a sculpture executed 20 years earlier titled The Month of May in Paris (1968). Mason says of the work: For more than forty years I have witnessed the march and countermarch of students on the magical inclined plane of the Boul’Mich. As wave after wave went by, I experienced the proximity of the nearest student to my gaze then, tunneled between each row, a distant glimpse of the opposite pavement. This tunnelling always seemed to be a sculptural possibility.

The Latin Quarter, 1988-89 (detail) polyester, resin, and acrylic, unique 122 × 1373/4 × 783/4 in. / 309.9 × 349.9 × 200 cm

Tom Otterness b. 1952

Tom Otterness is a contemporary American artist most well-known for his public sculpture installations. Though the rotund bronze forms appear quite jocular and cartoonish, Otterness’s work is filled with political undertones alluding to capitalism, sex, class, and violence. The sculptures are instantly recognizable as Otterness’s own creation and at the same time reflective of art history, fables, allegories, or current events. Kindly Geppetto (2001) depicts a violent scene inspired from The Adventures of Pinocchio in which the puppeteer Geppetto raises a hammer over the puppet he crafted, Pinocchio. While the fable is emblematic of the human condition and serves as a cautionary tale against deception, Otterness takes a far grimmer approach, one that is almost sadistic in nature.

Kindly Geppetto, 2001 bronze, edition 2 of 6 24 × 15 × 151/2 in. / 61 × 38.1 × 39.4 cm

Grear Patterson b. 1988

Grear Patterson is a contemporary American artist working in painting and sculpture. Reproducing elemental aspects of the everyday world, Patterson conveys a carefree and whimsical sensibility in his work. When you’re not around (2015) vaguely resembles a human face, with an “O” and an “X” as eyes, below it a curvilinear form which emulates a frown. The title playfully suggests the absence of a loved one, and how such a separation can cause a rift in emotions.

When you’re not around, 2015 tarpaulin, unique 54 × 54 in. / 137.2 × 137.2 cm

Larry Rivers 1923 – 2002

Larry Rivers was an artist whose work fused the spontaneity of Abstract Expressionism with commercial images of advertising. Considered a precursor to Pop Art, Rivers was a key transitional figure in postwar art. In Delacroix 1830 (1993), Rivers pays homage to the iconic allegorical work of the July Revolution, Liberty Leading the People (1830) by Eugène Delacroix. In Rivers’ version, the painting has been fashioned in high relief, and superimposed onto the gruesome portrayal of dead bodies on the ground is the portrait of the painter Delacroix.

Delacroix 1830, 1993 (detail) oil on canvas mounted on sculpted foamboard 781/4 × 96 × 6 in. / 198.8 × 243.8 × 15.2 cm

Guillermo Roux 1929 – 2021

Guillermo Roux was an Argentinian painter known for his watercolors, collages, and frescoes. Drawing on influences from surrealist and contemporary figurative painters, Roux’s oeuvre was ever-changing and unpredictable. Roux began a deep exploration into watercolors in the mid-1960s. The artist believes that originality resides not only in careful evaluation of color and its superimposition, but also in his recognition of the inherent emotional value it brings to the overall work. Rich with scintillating jewel tones, Figure con Flores Blancas (1998) is a watercolor depicting scene of a female figure in her boudoir. With a bouquet of white flowers on her side, the woman gazes off to the side, a red silk blanket draped between her legs, covering her lower torso.

Figura Con Flores Blancas, 1998 (detail) watercolor on paper 61 × 403/4 in. / 154.9 × 103.5 cm

Michael Anderson Sirens, 2004 telephone booth advertisements with street poster collage overlay between plexiglas with steel bolts 50 × 26 in. / 127 × 66 cm

Grisha Bruskin Silentium, 2001–03 from “On the Edge” series painted bronze, unique 441⁄8 × 133/4 × 173/4 in. / 112 × 35 × 45 cm

Grisha Bruskin Wandering Jew, 2001–03 from “On the Edge” series painted bronze, unique 471/4 × 161/2 × 125⁄8 in. / 120 × 42 × 32 cm

Steven Campbell St. Sebastian—Curtain, 1992 oil on canvas 865⁄8 × 76 in. / 220 × 193 cm

Jorge Castillo From the River, 1989 acrylic on canvas 70 × 60 in. / 177.8 × 152.4 cm

John Davies Bronze Head Painted, 1987-88 oil and acrylic painted bronze, unique 225⁄8 × 121/4 × 121/4 in. / 57.5 × 31.1 × 31.1 cm

John Davies Head Like Deborah, 1984–88 resin, fiberglass, stone dust, and acrylic, unique 19¾ × 11 × 14 in. / 50.2 × 27.9 × 35.6 cm

John Davies Face D.Y., 1985–88 resin, fiberglass, stone dust, and acrylic, unique 22 × 101⁄8 × 101⁄8 in. / 55.9 × 25.7 × 25.7 cm

John Davies Head of Christina, 1997–98 painted fiberglass, unique 16 × 9 × 8 in. / 40.6 × 22.9 × 20.3 cm

John Davies Dark Face, 1988 resin, fiberglass, stone dust, and acrylic, unique 225⁄8 × 121/4 × 121/4 in. / 57.5 × 31.1 × 31.1 cm

John Davies Face (C.H.), 1986 pastel, crayon, and pencil 353/4 × 241⁄8 in. / 90.8 × 61.3 cm

Vincent Desiderio Laughing Woman, 2021 oil on canvas 90 × 57 in. / 228.6 × 144.8 cm

Vincent Desiderio Nude II, 2008 oil on linen 48 × 641/2 in. / 121.9 × 163.8 cm

TR Ericsson Scarecrow, 2014 graphite, resin, and funerary ash on panel 30 × 20 in. / 76.2 × 50.8 cm

Red Grooms Demoiselles de Marseilles, 1984 mixed media construction, unique 27 × 341/4 × 151⁄8 in. / 68.6 × 87 × 38.4 cm

Bill Jacklin Ice Skaters in Central Park II, 1989 oil on canvas 42 × 36 in. / 106.7 × 91.4 cm

Raymond Mason The Latin Quarter, 1988–89 polyester, resin, and acrylic, unique 122 × 1373/4 × 783/4 in. / 309.9 × 349.9 × 200 cm

Tom Otterness Kindly Geppetto, 2001 bronze, edition 2 of 6 24 × 15 × 151/2 in. / 61 × 38.1 × 39.4 cm

Grear Patterson When you’re not around, 2015 tarpaulin, unique 54 × 54 in. / 137.2 × 137.2 cm

Larry Rivers Delacroix 1830, 1993 oil on canvas mounted on sculpted foamboard 781/4 × 96 × 6 in. / 198.8 × 243.8 × 15.2 cm

Guillermo Roux Figura Con Flores Blancas, 1998 watercolor on paper 61 × 403/4 in. / 154.9 × 103.5 cm

Edited by Marissa Moxley Design by Mariah Tarvainen Typeset in Agentur, Frauen, and ITC Caslon 224 All rights reserved. No portion of this publication may be reproduced in any form or by any electronic or mechanical means including information storage and retrieval systems without permission in writing from the publisher. © 2021 Marlborough New York 545 W 25th Street, New York, NY 10001 +1 (212) 541 4900 marlboroughnewyork.com