Upcoming Exhibitions

MACHINE SHOW - PAUL KREMER, MARK FLOOD, JASON REVOK, AND MOMO
OCTOBER 28 - DECEMBER 23, 2017

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Opening on October 28, Library Street Collective presents Machine Show, an exhibition exploring the innovative processes of painters Paul Kremer, Mark Flood, MOMO and Jason REVOK. Curated by Kremer, Machine Show will uncover the methodology behind the artists' works, showing painting alongside video, performance, and functional objects. Whether made to spec or fashioned from available found materials, an artist’s tools can be definitive for a particular series of works, and even have the potential to drive an entire career. With the acceleration of production schedules, tools can be made and modified to offer expediency in practice, create a spectacle in performance, upend convention, or create an aesthetic that leaves the viewer wondering how a piece was made. In taking matters into their own hands, the act of creating unique tools can express dissatisfaction with the status quo, available methods, and with movements in art that came before. Whether analog or tech-based, it is the ultimate act of progress to design new methods of production. 

Machine Show is the brainchild of Houston-based artist Paul Kremer. Increasingly recognized for his organic minimalist abstractions, Kremer has developed a new series produced by rotating easels of his own design.

"I wanted to make an easel that could allow me to drop paint on a large canvas and move the surface to control the paint flow. I proposed some ideas to my friend Roy Kersteins who built a large swiveling cross. After the first few paintings, we realized we could control the flow speed if we could adjust the tilt. Roy developed a second easel refined to allow a 360-degree rotation and 180-degree tilt. This sparked ideas for different types of paintings, too many to count."

Kremer painted the easels with red and white warning colors to define the function of their various parts, and after doing so loved the way the structures looked as objects. The result left him wondering how many artists have made tools to create artworks, only to be hidden away or trashed after completing their task, "This sparked my interest in finding others who have done the same. Art that makes art."

Though these new paintings are a departure aesthetically from Kremer's previous body of work, there are definite links in palette, formal cues and minimalistic virtues. Moreover, the flat fields of color take on a livliness characteristic of his earlier abstractions, particularly when each piece receives its name. They are rooted in the same immediacy and primacy of the everyday, and the titles give cues to Kremer's reading of chance encounters affected by his easels. In Falling With Chairs and Red Rover, you see it - clouds of dripping color made into something more identifiable, tangible and fun. 

Paul Kremer Falling with Chairs, 2017 Acrylic on canvas 72 x 54 inches

Paul Kremer
Falling with Chairs, 2017
Acrylic on canvas
72 x 54 inches

Paul Kremer Red Rover, 2017 Acrylic on canvas 84 x 64 inches

Paul Kremer
Red Rover, 2017
Acrylic on canvas
84 x 64 inches

 

MOMO

MOMO is an American artist who began his experimentation in the streets, first assembling collage on walls generally dedicated to graffiti, murals and wheat pastes. Using an arsenal of shapes, textures and colors, he assembled them in place, never knowing what the end result would bring. Over time, his compositions matured, simplified, and grew in scale, beginning to take on an aesthetic that synthesizes analog and digital influences. It was this early endeavor into collage that can be understood as the origin of his experimentation and stylistic tendencies.

Eventually, his fascination with the characteristics of digital paint inspired his Maker Project, wherein he built software with "borrowed free code and buget GIFs" that generated randomized patterns from the colors and shapes it was fed. From a limited inventory of original elements MOMO supplied, the program shuffled and restructured the componenets into endless variations. Both successful and 'failed' patterns were then transferred into physical form, manifesting into sculpture, painting, and large-scale murals. He was especially drawn to the resultant silkscreen posters, and even customized a bike and roller so that he could wheat paste over 400 of them along second-story 'sidewalk sheds' in NYC. 

His latest in a long series of home-made tools is a Wall Eater winch that tears carefully arranged drawings from behind carefully glued paper, slowly exposing the final composition. "I first came up with the idea of a 'Rip Cord Drawing' in 2006, as a way to install hidden artwork on the street, that would be revealed if a passerby pulled the cord. But this year, with the help of Andrew Schrock as fabricator, we built a winch that could slow the process down to last hours or even days." What manifests is a reductive collage or drawing that unfolds mostly by chance, "It's a very slow motion deconstruction with suprising results."

Machine Show will feature works created by MOMO's Wall Eater leading up to the exhibition, as well as present the machine's performance on opening night. The piece produced in the gallery will unfold over the course of the evening and will remain on display until the show's close.

MOMO Wall Eater, 2017 (Installation View)

MOMO
Wall Eater, 2017
(Installation View)

MOMO Wall Eater, 2017 (Installation View)

MOMO
Wall Eater, 2017
(Installation View)

 

MARK FLOOD

Beginning his art career in the 1980s, Mark Flood has become known for his wit, intelligence, and anti-establishment tactics; before making a name for himself, Flood focussed on painting, collage, and making music with his band, aptly named Culturcide. At that time, his works had a punk sensibilty that eventually led to his reactionary - and hugely popular - Lace Paintings of the 1990s. After reading Dave Hickey's The Invisible Dragon: Four Essays on Beauty (1993), Flood took his instigative sentiment to a place he thought he'd never go. Essays argued that beauty — the unidentifiable something that incites pleasure from simply witnessing it — has become an anti-establishment gesture against the art world institutions that had placed political ideas, historical context, and artistic theory above it. Creating the Lace Paintings purely for their aesthetic value was just another way to stick it to the art world. And they loved it. 

On view for Machine Show are Paddock and Sorry Pass, created by tearing and shredding paint-soaked lace, carefully arranging it across the canvas before peeling it away. The center of the composition is a single field of color where his tool comes into play to create hypnotic, unending waves:

"How did I make that big expanse of brushwork so supernaturally regular? My secret is that I use super-brushes of my own design. They’re three to six feet long, and have dozens of brushes joined together, on a metal armature that’s bent like stair-steps. So every stroke I make is like 12 strokes, evenly spaced… if I do it right. I sit my fat ass on a rolling metal cart, and my sad assistants earn their dough by rolling me slowly back and forth before the painting. I make little up and down movements with the super-brush, until the painting looks good. When I first tried the cart technique, I thought all I would get out of it was a funny picture for Instagram. But it works".

Mark Flood Sorry Pass, 2017 Acrylic on canvas 60 x 108 inches

Mark Flood
Sorry Pass2017
Acrylic on canvas
60 x 108 inches

Mark Flood Sorry Pass (Detail), 2017 Acrylic on canvas 60 x 108 inches

Mark Flood
Sorry Pass (Detail), 2017
Acrylic on canvas
60 x 108 inches

 

JASON REVOK

Presenting the disintegration of structures, the works of Jason REVOK utilize manmade tools in their creation from start to finish; whether a paint roller coiled in tape to create his Tape Loop Paintings, or an apparatus that holds a row of spray cans, the devices are well-considered for their faults. Creating glitches, drips and flaws in all the right places, these systematic - yet accident prone - tools have allowed REVOK to create distinctive series of works that are as alike as they are different. Their substantial scale maximizes the effect of micro and macro vantage points, as broken patterns are visible up close yet blur into humming geometric compositions from a distance, seeming almost automated rather than carefully crafted through experimentation by hand.

Arguably, the artist has done more to bring spray paint to minimalist art than any before. An extension from 2016's SYSTEMS, the works for Machine Show are familiar in their use of materials, but REVOK has developed another tool -  a giant spirograph template constructed from plywood that also holds a spray can, marking mesmerizing spirals on circular panel and metal. A recent series created on 60" aluminum will be on display, with a number of the works available for sale via LSC's new sister gallery, Louis Buhl & Co. 

The tools to create his Spirograph works are just that - essentially, a scaled up stator (outside ring) made of plywood is fastened to the wall. The rotor (the smaller gear that holds the spray) is then placed inside the stator so that its teeth engage with those of the secured piece as it moves around its perimeter. The number of arrangements possible by combining gears of different sizes and shapes is endless. REVOK has made a brilliant modification to a classic drawing tool, though its evident through video footage of his process that it's not a methodology for the weak - substantial muscle is required to sustain the physicality needed to complete the work. 

Jason Revok Spirograph #6, 2017 Spray paint on aluminum with reflective coating 60 inch diameter

Jason Revok
Spirograph #6, 2017
Spray paint on aluminum with reflective coating
60 inch diameter

Jason Revok Kundalini (White Black) Loop Painting, 2017 Synthetic polymer and oil enamel on canvas 72 x 60 inches

Jason Revok
Kundalini (White Black) Loop Painting, 2017
Synthetic polymer and oil enamel on canvas
72 x 60 inches

 

Machine Show will be on view at Library Street Collective (1260 Library Street, Detroit 48226) from Saturday October 28 through Saturday December 23, with an artist reception held on October 28 from 6-8 PM. Contact info@lscgallery.com for an exhibition catalog or additional information.  

LIBRARY STREET COLLECTIVE
Library Street Collective specializes in cutting edge contemporary fine art with a focus on emerging and established artists who have pushed the boundaries of traditional medium and exhibition space. Located in the heart of downtown Detroit, we present regular group and solo exhibitions while contributing to the artistic renaissance of the city's public, private, and heritage spaces. It is our mission to bring both world-renowned artists and exciting new work to a reimagined Detroit, as well as carry this sentiment as we expand our presence through exhibitions, special projects and art fairs nationally and internationally. 

PRESS INQUIRIES
Hannah Holden | Olu & Company | hannah@olucompany.com

 
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DAMAGED - SHEPARD FAIREY
NOVEMBER 11 - DECEMBER 17, 2017

Library Street Collective is thrilled to announce an upcoming LA exhibition with artist/activist Shepard Fairey in his most ambitious show to date, aptly titled DAMAGED. It’s been nearly 10 years since Fairey’s last solo exhibition in his hometown of Los Angeles and the iconic HOPE imagery he created for then Presidential candidate Barack Obama. In this unprecedented political climate, Fairey’s message has changed from hope to purpose: "DAMAGED is an honest diagnosis, but diagnosis is the first step to recognizing and solving problems. I definitely think that art can be part of the solution because it can inspire people to look at an issue they might otherwise ignore or reject.” 

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Of late, Fairey has shifted more towards making artwork based on critical issues and less on distinct figures as he has in the past. DAMAGED still contains the portraits we know and love, but the people he illustrates are representative of diverse Americans most affected by current policies and social issues, rather than recognizable personas of prominence. Advocacy is something the artist has always encouraged through his artmaking and his many social, political and humanitarian platforms: “When greed and indifference are the status quo, it’s time for conversation.”

DAMAGED also takes aim at another hindrance to reformative communication: social media. For what should be the most meaningful platform for important discussion ever created, discourse has fallen secondary to self-indulgence and celebrity: “Even prior to the election, I’ve been troubled by the social media mentality of ‘construct your own reality’ in superficial terms, at least. The internet and social media are valuable for democratization, but as Marshall McLuhan warned with his—”the medium is the message”—the rapid pace and temporary nature of social media can lead to throwaway approaches from the consumer and the creator...”

Library Street Collective owner Anthony Curis has worked with Fairey on past exhibitions and murals in Detroit, as well as held an event for the artist’s Make America Smart Again campaign leading up to the election. The gallery is heartened by the artist’s activism and unique place in the art world: “For Shepard, the goal has always been to reach as many people as possible, whether by walking down the street and coming across a mural or sticker; scrolling through social media; or taking home a print, edition, or original painting. Fairey’s work is ubiquitous because the ideas it communicates are severely lacking in all the places we look for it most.”

DAMAGED will be on view in downtown Los Angeles from November 11 through December 17, 2017, with location details to be announced soon. The public opening will take place from 8:00 to 11:00PM on November 11 and RSVP is mandatory for entry. Please click HERE to RSVP. Join the event and share on Facebook HERE.

For more information and to access an upcoming catalog of works, please email info@lscgallery.com 

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LIBRARY STREET COLLECTIVE
Library Street Collective specializes in cutting edge contemporary fine art with a focus on emerging and established artists who have pushed the boundaries of traditional medium and exhibition space. Located in the heart of downtown Detroit, we present regular group and solo exhibitions while contributing to the artistic renaissance of the city's public, private, and heritage spaces. It is our mission to bring both world-renowned artists and exciting new work to a reimagined Detroit, as well as carry this sentiment as we expand our presence through exhibitions, special projects and art fairs nationally and internationally. 

SHEPARD FAIREY
Shepard Fairey's work and practice disrupts the distinction between fine and commercial art. He has become widely known since the 2008 US presidential election for his Barack Obama “Hope” and Inauguration poster that hangs at the National Portrait Gallery in Washington DC. Fairey rose to prominence in the early 1990s, through the dispersion of posters and stickers that were labeled as “Andre the Giant has a Posse” which would later relate to his Obey Giant Campaign. Today the work is now regarded as an international phenomenon, having changed the language between art and the urban landscape.