In this exhibition of new work, Cannon Hudson presents a number of large-scale monochromatic paintings and constructed sculptures which investigate the duplicity between representational and abstract imagery.
Interested in the built structures that surround us, Hudson’s paintings depict domestic interiors, which in turn contain representations of paintings and sculptures. The sculptures, as if emerging from the paintings, are made of steel, wood, plexiglass, polymer coating, and chrome. The paintings construct actual and fictitious interiors as contextual setting for the sculptural work, which projects past experiences into the future by reassembling the past. The more tangible aspects of their subject matter tend to erode into simple forms that float in mercurial and reflective spaces, which might be seen as stylistic stand-ins for the original thing.
While the paintings use the interior as a starting point, the familiar often gives way to the artifice and ambiguity of fiction. In many of the works the recognizable objects and materials erode through the amorphous nature of the medium of paint. The physicality of the built world breaks down into emergent or rudimentary forms, simple nuance, shade and tone. In both the painted works as well as the sculptures, the objective references are reduced to the point that we can no longer hold on to them, evoking psychological tension and creating broader spaces for interpretation.
Cannon Hudson has had solo shows at Feature Gallery, NYC, Acme Gallery, Los Angeles, White Columns, NYC, Galleria Marabini, Bologna, Italy, Oliver Kamm Gallery, NYC, and Dennis Anderson Gallery, Los Angeles among others. His work has been included in numerous group exhibitions including: “The Painted World” at PS1, NYC, “Out of Site” at the New Museum, New York, “Officina America,” Galleria d’Art Moderna, Bologna, Italy, “Mood Painting” Curt Marcus Gallery, NYC, Daniel Reich Gallery, NYC, and “Departure Lounge” the Clocktower, NYC. A recipient of a Guggenheim Fellowship in 2003, Cannon Hudson lives and works in Los Angeles and Joshua Tree, California.
PRESS Knight, Christopher. Art Review: Cannon Hudson at Las Cienegas Projects. Culture Monster, losangelestimes.com, May 13, 2010. http://latimesblogs.latimes.com/culturemonster/2010/05/art-review-cannon-hudson-at-las-cienegas-projects.html
Project Space ALEX KLEIN Person to Person
Person to Person, 2010. 16mm film transferred to video, color, silent
Alex Klein’s work investigates issues of historical mediation and the materiality of ideas. In her photographs, films, and videos she examines the ways in which abstract concepts, philosophical impulses, and political subjectivity are made legible through their physical and material manifestations, particularly in mass culture, subcultural formations, and design.
Klein’s two-channel, film-to-video work, Person to Person (2010), takes its cue from a moment in pop music on the cusp of the video age. Here, the concept of “the group” is distilled to a series of procedural movements and gestures, forming an intersection where avant-garde practices, media rhetorics, and popular memory align. In the accompanying poster and photographs, this diagrammatic approach is extended to implicate both acoustic and cinematic space.
Alex Klein is an artist based in Los Angeles. She received her MFA from UCLA, her MA in the History of Art from the Courtauld Institute of Art, London, and her BA from Columbia University, New York. Her work and writing have been exhibited and published both nationally and internationally. She recently edited the essay collection Words Without Pictures (LACMA / Aperture, 2010) and is a co-founder of the independent publishing imprint Oslo Editions. She is currently a Lecturer in the Roski School of Fine Arts at USC.
Back Room VISHAL JUGDEO Violent Broadcast
Still from Violent Broadcast, 2010. High definition video projection with sound, 8 minutes
Vishal Jugdeo’s new video installation Violent Broadcast (2010) is structured around a series of brief episodic fragments, performed by three actors and filmed within a stylized set in the artist’s studio. The scenes are edited into a looped narrative sequence that is layered, convoluted and cyclical, rather than linear. Consistent with much of his recent work, Violent Broadcast mines such varied genres as modernist theatre, experimental film and daytime television to explore the subtle discordances and asymmetries of power that lie beneath the surface of social interaction.
For Violent Broadcast, Jugdeo has composed a series of dialogues that draw from the television talk-show format in which hosts and guests converse about often psychologically charged topics within a highly decorous context of public address. The talk-show scenes are intercut with theatrical vignettes for which the set is dismantled and repurposed into other imagined spaces, such as a bar and a massage parlor.
Jugdeo’s work often simulates the clichéd modes of scriptwriting, acting, camerawork, and editing that are dominant in mainstream forms of production, only to unravel them and bare the social relationships they conceal. Instances of humor, absurdity, abstraction and hyperbole are woven throughout Violent Broadcast in order to contrast the ambivalent uses of language heard throughout the actors’ performances. Such strategies of disruption undermine the semblance of a master narrative, and offer reprieve from a rather bleak outlook on contemporary social culture.
Vishal Jugdeo is a Canadian artist currently based in Los Angeles. Recent exhibitions include solo shows at LAXART in Los Angeles and The Western Front and Helen Pitt Gallery in Vancouver. Jugdeo is currently working on a performance for live broadcast which will air on public access television in San Francisco, in conjunction with an exhibition at Queens Nails Projects. Jugdeo completed a BFA at Simon Fraser University in Vancouver, and a MFA at UCLA.
Photos by Kelly Barrie