Locks Gallery Will Benedict

Will Benedict
Madame President We are Breaking Up, 2011
gouache on canvas and foam core, photograph, aluminum, glass, tape
42 1/2 x 61 inches

Kerstin Brätsch Locks Gallery

Kerstin Brätsch
Interchangeable Mylar (3 parts), Glow Rod Tanning Series for DAS INSTITUT and UNITED BROTHERS, 2012
oil on 3 mylar sheets with lightbox
86 1/2 x 139 3/4 x 14 3/4 inches

Tom Burr Locks Gallery

Tom Burr
An Orange Echo, 2012
plywood, mirrored Plexiglas, used theater seats
72 x 42 1/2 x 36 inches

Tom Burr Locks Gallery

Tom Burr
November Nerves, 2012
wool blanket and upholstery tacks on plywood
72 x 72 x 3 inches

Michaela Eichwald Locks Gallery

Michaela Eichwald
Gerichtstraße, 2012
acrylic, oil, crayon, lacquer on nettle
70 7/8 x 47 1/4 inches

Michaela Eichwald Locks Gallery

Michaela Eichwald
Lustgrotte & o.T., 2010
cast resin
7 7/8 x 3 15/16 x 3 15/16 inches

Nicole Eisenman Locks Gallery

Nicole Eisenman
Untitled, 2012
monotype
28 1/2 x 23 1/2 inches

Nicole Eisenman Locks Gallery

Nicole Eisenman
Untitled, 2012
monotype
28 1/2 x 23 1/2 inches

Nicole Eisenman Locks Gallery

Nicole Eisenman
Untitled, 2012
monotype on paper
23 1/3 x 17 1/2 inches

Jutta Koether Locks Gallery

Jutta Koether
I Know There's Nothing Else To Do, 1994
oil on canvas
87 x 76 inches

Jutta Koether Locks Gallery

Jutta Koether
Beyond the Beautiful View, 1993
oil on canvas
98 x 86 inches

Nick Mauss Locks Gallery

Nick Mauss
Partition, 2012
glazed ceramic
13 3/8 x 17 1/4 inches

Nick Mauss Locks Gallery

Nick Mauss
Hinge, 2012
glazed ceramic
13 3/8 x 17 1/4 inches

Nick Mauss Locks Gallery

Nick Mauss
For two days I was unable to do anything, I was so stunned, 2009
cold rolled steel, magnets, inkjet prints, Xerox, pastel shavings
30 x 20 x 10 inches

Nick Mauss Locks Gallery

Nick Mauss
Conversion, 2011
ink and colored pencil on paper
23 1/4 x 16 1/2 inches

Shahryar Nashat Locks Gallery

Shahryar Nashat
Modern Body Comedy, 2006
S8mm-film transferred to video
color, sound, 2:46 minutes

Shahryar Nashat Locks Gallery

Shahryar Nashat
Modern Body Comedy, 2006
S8mm-film transferred to video
color, sound, 2:46 minutes

Lucy Skaer Locks Gallery

Lucy Skaer
Harlequin is as Harlequin Does, 2012
C-print with silkscreen
44 x 36 inches

Lucy Skaer Locks Gallery

Lucy Skaer
Leonora (The Joker), 2006
16mm film
45 seconds

Kianja Strobert Locks Gallery

Kianja Strobert
Untitled (Yellow Border), 2013
mixed media on paper, triptych
50 x 38 inches each

Viola Yesiltac Locks Gallery

Viola Yesiltac
this eye is burning, 2013
fountain pen ink on seamless background paper
77 x 53 inches

Viola Yesiltac Locks Gallery

Viola Yesiltac
Vom rudimentaeren Unverstaendniss, 2012
calligraphy and fountain pen ink on paper
19 1/2 x 25 1/2 inches

Press Release

Locks Gallery is pleased to present Catch as Catch Can, a group exhibition curated by Fionn Meade. The exhibition will be on view February 13 through March 30, 2013. There will be a reception for the artists on Wednesday, February 13, 2013 from 5:30–7:30 pm.

Viola Yesiltac will perform her piece Taking a Stroll with the Lift Operator in collaboration with Oliver Input, at 6:30 pm on Wednesday, February 13th. It will be followed by a walk-through with Fionn Meade and the artists. (Follow this link to listen to the audio recording of the performance.)

Artists in the exhibition include: Will Benedict, Kerstin Brätsch, Tom Burr, Michaela Eichwald, Nicole Eisenman, Jutta Koether, Nick Mauss, Francis Picabia, Shahryar Nashat, Lucy Skaer, Kianja Strobert, and Viola Yesiltac.

Catch As Catch Can inhabits a gap between parody and seriousness, consorting and mingling with sculpture, film, graphic design, and poetry, but always with a wry yet beholden eye towards painting and its terms and limits. Taken from the nickname for wrestling match entertainments of the early 20th century, Catch As Catch Can embraces a "no-holds-barred" attitude of reinventing genre, medium, and persona via available means.

Inspired by the presence of Francis Picabia's painting of the same name—Catch As Catch Can, 1913—the exhibition engages a prying apart and emptying out of stylistic investments, critical prompts, and polemical stances in order that these tactics be revitalized with a restless comic gravitas. Painting as a genre and idea of mobility and mimesis—moving readily between graphic optical forms, versioning of the artistic self, and gestural pose—is explored in contemporary artistic practices that embrace a spirit of rupture, allowance, and divided attentions.

Made just after the succès de scandale of the Armory Show, which opened in New York, February 17th, 1913, Picabia's Catch As Catch Can is an emblem of divided desire, existing between the lyrical embrace of Orphism's colorful abstraction and the diagrammatic noise of the mecanomorphs, disassembled figuration, and embedded commentary that were to ensue. Conflating the artist's memory of a dancer's risqué routine aboard a transatlantic voyage with a no-holds-barred wrestling match Picabia viewed with his friend Apollinaire and first wife, Gabrielle, Catch As Catch Can insists and interprets simultaneously, offering up a critique of its own seductive advances. Mixing up the French words étoile (star) and danse (dance) in the lower right hand corner, the painting deflates yet asserts its own rhythmic abstraction, and brings together the filmic collapse of two indelible memories.

From the Keatonesque pratfalls of Sharyar Nashat's film Modern Body Comedy, 2006, to Lucy Skaer's filmic portrayal of an encounter with the elderly Surrealist painter Leonora Carrington, Leonora (The Joker), 2006, the language of cinema as the least faithful art form recurs here in the exhibition in the cinematic ability to frame and repeat heightened moments, inverting dramatic tension and revealing illusion and viewer expectations. As with the two rows of movie seats facing each other in Tom Burr's An Orange Echo, 2012, the mirror of cinema inverts, fragments, and upends our memory through impossible repetitions, forever altering the imprint of the constructed, painted encounter along the way.

A similarly uneasy, dismantled approach to portraiture and interiority is animated in the work of Jutta Koether, Nick Mauss, and Will Benedict, as they hold equally to the effects of advanced abstraction and décor while taking apart art historical context and social behavior. While the line and language of satire embedded in the work of Viola Yesiltac and Nicole Eisenman puts forth an unresolved dialog between caricature and lyricism, Kerstin Brätsch’s optical distortion and rotating display tactics resonate with Kianja Strobert’s staccato substitutions and Michaela Eichwald’s writhing and recalcitrant compositions to further rouse the spirit of distribution, mutation, and mischief carried forth within the exhibition.