June - 30th September 2010
Dan Walsh, Untitled, 2008, Ink on inomachi paper, 22 x 30 inches
The Apartment is pleased to announce “Once Removed”, a group exhibition curated by gallery artist Daniel Sturgis. Daniel Sturgis is known for his flat, abstract paintings, which imbue modernism with a sense of playfulness, anxiety and revived energy. Curating is an extension of his practice, as he often chooses to present other artists’ work and contribute to a dialogue and a wider awareness of painterly concerns. Daniel Sturgis has recently curated the posthumous Liz Arnold exhibition at the Camden Arts Centre, London, a series of group shows on contemporary abstract painting at a number of institutions in Britain as well as a major project with Daniel Buren for The Wordsworth Trust, Grasmere.
For this show at The Apartment, Sturgis has brought together a number of established and mid-career artists, who critically mine the history of painting and the modernist cannon, bringing out questions on the nature of representation. Amongst them are Keith Coventry, Peter Halley, James Hyde, Neal Tait, Dan Walsh and John Wilkins. In Peter Halley’s work, abstract geometries are continually re-contextualized in a democratic manner that incorporates references to communication systems, technological models and popular culture. Dan Walsh subverts the formal paradigm with a series of irregular lines and a fine sense of understatement. Neal Tait idiosyncratically appropriates historical styles in his enigmatic paintings, while James Hyde literally paints over representations of Stuart Davis paintings. The exhibition also features a nylon webbing by Hyde, a work that blends the boundaries between painting and sculpture.
James Hyde, Blender (Davis), 2006, Acrylic on archival digital print, 20.5 x 27.25 inches
All the artists in the exhibition purposefully create a distancing device within their practice, which allows them to make paintings whilst also referring to the problems of representation and the pressures exerted by the didacticism of modernist history. Once Removed further complicates such a reading with the inclusion of a film by the painter Keith Coventry, W.A.F.S 1996, a seemingly peripheral work, a playful re-presentation of a pre-war modernist film.
By bringing together artists from London and New York, Once Removed examines the shared and divergent relationships painters have to their medium, to each other and most importantly to the history of painting.
James Hyde, Swimmer, 2010, Nylon Webbing, 72 x 60 x 10 inches