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Techniques of the Observer, Installation view, Greene Naftali, New York

Techniques of the Observer, Installation view, Greene Naftali, New York 

Thomas Eggerer  Hands and Heels (Gotik der Ferse), 2018  Oil on linen  65 1/3 x 64 1/4 inches (166 x 163 cm)

Thomas Eggerer

Hands and Heels (Gotik der Ferse), 2018

Oil on linen

65 1/3 x 64 1/4 inches (166 x 163 cm)

Lois Dodd  Back of Men's Hotel (From My Window), 2016  Oil on linen  42 x 30 inches (106.7 x 76.2 cm)

Lois Dodd

Back of Men's Hotel (From My Window), 2016

Oil on linen

42 x 30 inches (106.7 x 76.2 cm)

Techniques of the Observer, Installation view, Greene Naftali, New York

Techniques of the Observer, Installation view, Greene Naftali, New York 

Michael Fullerton  Advertisement for a Beauty Product, Circa 2013, 2018  Oil on linen  23.62 x 17.72 inches (60 x 45 cm)

Michael Fullerton

Advertisement for a Beauty Product, Circa 2013, 2018

Oil on linen

23.62 x 17.72 inches (60 x 45 cm)

Michael Krebber  Untitled, 2007  Acrylic on canvas  39.3 x 39.3 inches (99.8 x 99.8 cm)

Michael Krebber

Untitled, 2007

Acrylic on canvas

39.3 x 39.3 inches (99.8 x 99.8 cm)

Techniques of the Observer, Installation view, Greene Naftali, New York

Techniques of the Observer, Installation view, Greene Naftali, New York 

Lois Dodd  Doorway, 1986  Oil on Masonite  20 x 14 inches (50.8 x 35.6 cm)

Lois Dodd

Doorway, 1986

Oil on Masonite

20 x 14 inches (50.8 x 35.6 cm)

Gillian Carnegie  S, 2016  Oil on canvas  31 x 23 inches (78.7 x 58.4 cm)

Gillian Carnegie

S, 2016

Oil on canvas

31 x 23 inches (78.7 x 58.4 cm)

Stuart Middleton  Cotonhall Landmine Raspberry, 2019  Colored pencil on paper  Framed: 25 1/4 x 34 7/8 x 1 inches (64.1 x 88.5 x 2.5 cm)

Stuart Middleton

Cotonhall Landmine Raspberry, 2019

Colored pencil on paper

Framed: 25 1/4 x 34 7/8 x 1 inches (64.1 x 88.5 x 2.5 cm)

Techniques of the Observer, Installation view, Greene Naftali, New York 

Techniques of the Observer, Installation view, Greene Naftali, New York 

Michael Fullerton  Groupie, 2018  Oil on linen  23.62 x 17.72 inches (60 x 45 cm)

Michael Fullerton

Groupie, 2018

Oil on linen

23.62 x 17.72 inches (60 x 45 cm)

Techniques of the Observer, Installation view, Greene Naftali, New York

Techniques of the Observer, Installation view, Greene Naftali, New York 

Giangiacomo Rossetti, The Assistant of my Framer, 2018, Oil on canvas, snakeskin frame, ​47 1/4 x 31 1/2 x 1 7/8 inches (120 x 80 x 4.8 cm)

Giangiacomo Rossetti
The Assistant of my Framer, 2018
Oil on canvas, snakeskin frame
47 1/4 x 31 1/2 x 1 7/8 inches (120 x 80 x 4.8 cm)

Stuart Middleton,  Cromwell Jelly Baby, 2019  Colored pencil on paper  Framed: 25 1/4 x 34 7/8 x 1 inches (64.1 x 88.5 x 2.5 cm)

Stuart Middleton

Cromwell Jelly Baby, 2019

Colored pencil on paper

Framed: 25 1/4 x 34 7/8 x 1 inches (64.1 x 88.5 x 2.5 cm)

Techniques of the Observer, Installation view, Greene Naftali, New York

Techniques of the Observer, Installation view, Greene Naftali, New York 

Walter Price  Sit Tea Life, 2018  Acrylic on wood panel, framed  Framed: 17 x 20 x 1 5/8 inches (43.2 x 50.8 x 4.1 cm)

Walter Price

Sit Tea Life, 2018

Acrylic on wood panel, framed

Framed: 17 x 20 x 1 5/8 inches (43.2 x 50.8 x 4.1 cm)

Katharina Wulff  Untitled, 2010  Oil on canvas  13 3/4 x 18 inches (34.9 x 45.7 cm)

Katharina Wulff

Untitled, 2010

Oil on canvas

13 3/4 x 18 inches (34.9 x 45.7 cm)

Katharina Wulff Untitled, 2007 Oil on canvas 17 18/25 x 15 3/4 inches (45 x 40 cm)

Katharina Wulff

Untitled, 2007

Oil on canvas

17 18/25 x 15 3/4 inches (45 x 40 cm)

Techniques of the Observer, Installation view, Greene Naftali, New York

Techniques of the Observer, Installation view, Greene Naftali, New York 

Techniques of the Observer, Installation view, Greene Naftali, New York

Techniques of the Observer, Installation view, Greene Naftali, New York 

Nolan Simon  Maundy (Marcus), 2018  Oil on linen  25 x 20 inches (63.5 x 50.8 cm)

Nolan Simon

Maundy (Marcus), 2018

Oil on linen

25 x 20 inches (63.5 x 50.8 cm)

Elizabeth Peyton  David Fray (Playing Ravel), 2016  Oil on board  9 x 12 inches (23 x 30.5 cm)

Elizabeth Peyton

David Fray (Playing Ravel), 2016

Oil on board

9 x 12 inches (23 x 30.5 cm)

Techniques of the Observer, Installation view, Greene Naftali, New York

Techniques of the Observer, Installation view, Greene Naftali, New York 

Giangiacomo Rossetti  Capriccio sopra la lontananza del suo fratello dilettissimo, 2019  Oil on board  17 x 13 x 1 inches (43.2 x 33 x 2.5 cm)

Giangiacomo Rossetti

Capriccio sopra la lontananza del suo fratello dilettissimo, 2019

Oil on board

17 x 13 x 1 inches (43.2 x 33 x 2.5 cm)

Elliott Jamal Robbins  Walks Series, 2016  Five framed watercolors on paper  Paper: 15 x 11 1/2 inches (38 x 29 cm) each  Frame: 20 3/8 x 16 3/8 inches (51.8 x 41.6 cm) each

Elliott Jamal Robbins

Walks Series, 2016

Five framed watercolors on paper

Paper: 15 x 11 1/2 inches (38 x 29 cm) each

Frame: 20 3/8 x 16 3/8 inches (51.8 x 41.6 cm) each

Techniques of the Observer, Installation view, Greene Naftali, New York

Techniques of the Observer, Installation view, Greene Naftali, New York

Thomas Eggerer  Budget Meal Pattern, 2019  Oil on linen  34 x 39 inches (86.4 x 99.1 cm)

Thomas Eggerer

Budget Meal Pattern, 2019

Oil on linen

34 x 39 inches (86.4 x 99.1 cm)

Press Release

Techniques of the Observer

Gillian Carnegie, Lois Dodd, Thomas Eggerer, Michael Fullerton, Michael Krebber, Stuart Middleton, Elizabeth Peyton, Walter Price, Elliott Jamal Robbins, Giangiacomo Rossetti, Nolan Simon, Katharina Wulff

 

February 5th—March 9th, 2019

Ground Floor

 

Visual culture is currently undergoing a major historical rupture: for the first time, mechanical imagery no longer follows a humanist model, mimicking the neural and physiological design of retinal sight. Technology has developed new models of visualization indifferent to the codes by which we’ve long processed images and organized their logic. Observation, as Jonathan Crary has indicated in 24/7, has become systemized and quantifiable – mediated intake of images can be monitored and surveilled. This exhibition will survey the persistence of observational painting within this charged arena, presenting artists who take both radical and restorative approaches, both responding to current visual codes and bypassing their interferences. Some artists reflect back the cool detachment that has infiltrated realism through digital techniques, others practice with an immediacy and sensuality more closely related to the impressions of the human eye. All of the artists on view engage representation as the concept itself rapidly shifts.

 

Thomas Eggerer’s vertiginous new paintings portray fragmented young bodies from impossible angles, strangely coalescing around signifiers of consumption and authority. Painting from an aerial and perpendicular view, Eggerer’s vantage point underlines the use of both aerial and subterranean space to maximize urban real estate and infrastructure. Eggerer eliminates horizon lines and suggests what’s underneath rather than what’s beyond—an effect compounded by the painting’s central manhole, which signifies depth without proffering it. Depicted in cool tones, the folds in his clothes and topography of his face expertly contoured against a hard horizon line in the background, the young man depicted in S (2016) is among Gillian Carnegie’s serial subjects. Carnegie approaches the rigor of genre painting as readymade, circumscribed parameters in which to explore multiple valences of perception. Repeatedly engaging with her subject under various conditions, her still lifes, portraits, and other sources splinter into a series of impressions, exposing their bare materiality and that of paint itself.

 

Michael Krebber’s Untitled (2007) obscures its source—the backdrop of Jack Smith’s Flaming Creatures—through several layers of mediation. Likely a painted backdrop to begin with, Krebber compounds his subject’s filmic translation, generating a sequence of facsimile ever further removed from its source. The result is a distilled, archetypal still life, its ghostly tonal inversions recalling a retinal afterimage. Elizabeth Peyton paints from a photograph of a video of classical pianist David Frey, not only forging a distance between her painting and its source, but also enforcing a mediatic shift: Frey is isolated from sound, movement, and his craft, his contemplation rendered enigmatic.

 

Lois Dodd’s window paintings navigate a tension between observational transcription and predetermined geometry. In Back of Men’s Hotel (from My Window) (2016), Dodd paints the view from the quintessential portal for observation, reciprocated across the street by a series of reflective squares, each shining back a varied night sky. Walter Price’s invented spaces incorporate abstraction to achieve their structural ambiguity. Realism is detectable in signifiers and tenuous spatial organization; yet Price’s topographic surface of paint resists an imagistic reading.

 

Elliott Jamal Robbins’ work intersects social construction and self-perception to produce violently fractured narratives. In his Walk Series, installed here in sequence, Robbins paints stereotyped images in motion, only to repeatedly obliterate them—suggesting impeded progress. Stuart Middleton’s drawings of cattle constitute pristine renderings of the sanitized violence of the livestock industry, confirming the image as a distancing mechanism. Drawn from photographs by the artist, taken at a county fair where the livestock was showcased, Middleton faithfully renders the animals’ musculature and adornments. Middleton’s practice on the whole examines the specific application of animal psychology to the livestock industry—an example of exploiting evolutionarily learned behavior to optimize production. In Nolan Simon’s work, the most circulated, and opposed, of visual content collide—the religious motif, pornography, and social media. The work on view refers simultaneously to religious gesture and fetish, while also betraying the lighting of amateur photography to inflect the personal—executed with cool precision, the image is rendered a neutral space of projection.

 

Michael Fullerton’s portraiture depicts figures at the intersection of media, technology, and power. For this exhibition, Fullerton presents Groupie: painted from a picture of a pre-teen model affecting an aloof adult, Fullerton titles the work for a term that, since the 1960s, has evolved from a descriptor of sexual agency to that of a power imbalance. On view by Katharina Wulff are two sparsely occupied and delicately rendered scenes, exemplifying the artist’s engagement with, and updates of, German romanticism—transported to the artist’s adopted home of Morocco. Each strangely halting in their articulation, these representational works become fantastic by way of what is omitted.  Giangiacomo Rossetti’s Capriccio sopra la lontananza del suo fratello dilettissimo (2019)—translates to Capriccio on the departure of a beloved brother, and originates from a seminal composition by J.S. Bach. Bach’s piece was written as his brother left for Sweden, Rossetti’s work was occasioned by his own departure from Milan. The work is sourced from his brother’s Instagram, and framed with the oroboro – a snake eating its own tail.