Have We Met Before?

February 18 - April 28, 2012


Ad in Artforum, February 2012

examiner.com
artinfo.com

 


Installation view north gallery
(Garbasz, Wilke, Duchamp)

Installation view north gallery
(G. Yefman, Garbasz)

Installation view south gallery
R. Yefman, Cottingham, Makos/Warhol)

Installation view south gallery

(Cassils, Benglis, Man Ray, R. Yefman)
Heather Cassils Lynda Benglis


Advertisement: Homage to Benglis,

2011
c-print
40 x 30 inches
edition of 3


Advertisement
, 1974
Paula Cooper Gallery, Artforum
November 1974
10 5/8 x 21 inches
Eleanor Antin Eleanor Antin

Carving: A Traditional Sculpture
, 1972
148 black-and-white photographs and text
7 x 5 inches each
edition of 2


Portrait of the King,
1972
1 black-and-white photograph from
a set of 5

15 9/16 x 11 9/16 inches
edition of 2

 

Man Ray Marcel Duchamp

Marcel Duchamp as Rrose S
élavy ,
1921
silver print photograph
15 3/4 x 12 5/8 inches

Nude descending a
Staircase, No. 2
,1937
pochoir collored collotype with
attached signed postage stamp
21 11/16 x 17 7/16 inches
Keith Cottingham Christopher Makos/Andy Warhol

Fictitious Portrait (Triple)
, 1993
digitally constructed photograph
61 1/2 x 53 1/4 inches
edition of 7

Altered Image
,1989
1 screenprint from a portfolio of 5
40 x 32 inches each
edition of 35
Rona Yefman Rona Yefman

The Marth A Bouke Modeling Portfolio,
2002-2009
set of 21 c-prints
17 x 13 inches each
edition of 5

The Marth A Bouke Modeling Portfolio
,
2002-2009
(detail)
c-print
17 x 13 inches
edition of 5 1972

Detlif Henrichs Detlif Henrichs

Detlef, San Francisco,
January
, 1990
1 of 3 photographs from a set of
unique vintage c-prints
72 x 50 inches


Acid Rain Damage to Two German
National Forests
, 1984
unique vintage c-print
16 x 20 inches

Hannah Wilke Hannah Wilke

Intra-Venus Series #3, August 17 and
August 9, 1992
, 1992
2 of 3 panels from the chromagenic supergloss
triptych
71 1/2 x 47 1/2 inches each
edition of 3

Why Not Sneeze...?
, 1992
wire bird cage, medicine bottles and syringes
7 x 9 x 6 7/8 inches
Chris Burden Yishay Garbasz

Dreamy Nights
,1974
2 of 3 photographs
15 x 29 inches


Close Up, Day 9, 2011

one part of the Number Project
digital c-print
26 5/8 x 40 inches
edition of 3
includes an 8 x 12 inch color co-print of Shulamit Zimet Garbasz's scar (unlimited edition)

 

Yishay Garbasz Yishay Garbasz

Becoming,
2008-2010
digital c-print
29 3/8 x 196 1/2 inches
edition of 3

Eat Me Damien,
2010
Formaldehyde protected testicles removed
during surgery
approximately 2 x 1 x 1 inches each
Gil Yefman Rona Yefman

Blood Moon
, 2010
knitted yarn
59 x 27 inches

Garden of Eden
, 2010
c-print
32 3/8 x 38 1/2 inches
edition of 5

Click here for a PDF version of the following Press Release.

                

Have We Met Before?                                       

Artists:  Eleanor Antin | Chris Burden | Lynda Benglis | Heather Cassils | Keith Cottingham | Marcel Duchamp | Yishay Garbasz | Detlef Henrichs | Christopher Makos | Man Ray | Andy Warhol | Hannah Wilke | Gil Yefman | Rona Yefman

February 18 - April 28, 2012

Have We Met Before? Ronald Feldman Gallery brings together several generations of artists working in sculpture, video, photography, and mixed-media who explore the complex connection between body and self-identity.

Several of the fourteen artists directly alter their bodies to address issues of gender.  In her work Becoming (2008-2010), Yishay Garbasz chronicles the changes in her body before and after “gender clarification surgery.”  In Eat Me Damien (2010), Garbasz displays her formaldehyde protected testicles removed during surgery.  A video and photographs from Garbasz’s The Numbers Project (2011) reveal the artist using branding irons to sear her mother’s tattooed Auschwitz identification number into her own arm, thereby passing a fading memory from mother to daughter.  In Carving: A Traditional Sculpture (1972), Eleanor Antin photographed her body from four vantage points every morning for 37 days while on a restrictive diet to address societal pressures and question standards of beauty.  Artist, stunt person, and body builder, Heather Cassils, in her works Fast Twitch / Slow Twitch (2011), Advertising: Homage to Benglis (2011, collaboration with Robin Black), and Body Composition (2011), makes evident the extreme efforts necessary to achieve her exaggerated muscular physique which she uses to “interrogate systems of power, control and gender.” 

Other artists use drag and ambiguity to confront the rigidity of society’s concepts of gender.  Man Ray’s photograph of Marcel Duchamp’s alter ego Rrose Sélavy proclaims “such is life” (1921).  Duchamp’s catalytic Nude Descending a Staircase, No.2 (1912) further blurs ambiguous gender.  Photographs by Christopher Makos include Altered Image in which Andy Warhol, inspired by Duchamp, role-plays in drag.  Lynda Benglis challenges the male ethos in an Artforum advertisement (Paula Cooper Gallery, 1974) in which she boldly holds a dildo to her naked body, thus embodying both sexes. 

Photos and videos from Rona Yefman’s series Marth A Bouke intimately portrays Tel Aviv based Martha Bouke, an 80 year old holocaust survivor and grandfather, who has earnestly adopted, mentally and physically, a female persona.  Martha, who wears a plastic mask and blond wig, challenges traditional notions of eroticism and familial structures, age expectations, and gender norms.  Her series My Brother and I (1996 – 2009) captures the complexity of adolescence and self-realization, documenting her relationship with her younger brother, Gil Yefman, who transitions from man to woman, and thereafter back to a man.  Gil Yefman’s hanging knit sculpture Blood Moon (2010), conceptualized while reading Rainer Maria Rilke's “Letters to a Young Poet,” parallels the possibility and nature of male menstruation and birthing through the creation of an artwork, with the fullness of the female period and birthing.  His knit sculpture Breakfast Hat (2007) addresses contemporary overabundance. 

Other works are a response to involuntary physical changes that have greatly altered lives or nature.  In his series Narben, Detlef Henrichs, left catastrophically burned after a paint and gas explosion in 1971 at the age of 10, captures the psychological and physical impact endured by burn survivors.  Paralleling these portraits are photographs taken from German National Parks depicting the results of dieback, the gradual disfiguration and death of trees caused by acid rain and other environmental factors.  Photos from Chris Burden’s Dreamy Nights, performed in Graz, Austria (1974), show the artist writhing on the floor as burning Spiritus, representing destructive Medieval weapons, overflows onto his body.  INTRA-VENUS (1992-93), Hannah Wilke’s last work, records the realities of her physical transformation while battling Lymphoma.   In addition to photographs, works include Brushstroke (1992), composed of hair lost during radiation and chemo treatment, and Why Not Sneeze (1992), a reference to Duchamp’s Why Not Sneeze, Rrose Sélavy? (1921)composed of plastic prescription bottles stuffed in a bird cage.  Keith Cottingham’s constructed photograph Fictitious Portrait (1993) eerily insinuates the nurturing of a superior race. 

***
There will be an opening reception February 18: 6 - 8.  Gallery hours are Tuesday - Saturday, 10 - 6, Monday by appointment.  For more information, contact Sarah Paulson (212) 226-3232 or sarah@feldmangallery.com. 
 


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Copyright 2012 Ronald Feldman Fine Arts, Inc. Click here for more detailed information.