12 March – 11 April, 2010
Tony Oursler, Cave, 2010 (detail)
mixed media installation
12 March – 11 April, 2010
George Stoll, Untitled (72 colors in an exploded checkerboard #1), 2009
Colored pencil on Duralar, 21 x 21 x 2 in. (framed)
(shown here slightly cropped, see below for full frame)
The Baldwin Gallery is pleased to announce its first show with Tony Oursler, an internationally acclaimed multimedia and installation artist. Oursler will be showing new work that consists of sculptural video pieces as well as 18 paintings that exhibit the revival of his interest in painting and drawing, inspired in part by his recent drawing retrospective at the Kassel Kunstverein in Germany. Since the mid-1970s, Oursler has been a pioneer in new media art and today is widely considered one of the most significant leaders in the field of video art. Tony Oursler began working with small LCD video projectors in 1991 and is known for his fractured-narrative handmade video tapes that involve intricate sound tracks, painted sets, stop-action animation and special optical effects created by the artist. His work reveals his interest in psychology and dream therapy with a presentation of video and performance that creates the ultimate unique experience.
Oursler was born in New York City in 1957 and grew up in Nyack on the Hudson. This is his first show in Aspen since his exhibition at the Aspen Art Museum in 1997. He has collaborated with Constance DeJong, Tony Conrad, David Bowie, Kim Gordon, Sonic Youth, Joe Gibbons, Rem Koolhaas and Stephen Vitiello and is part of the musical and performance group, Poetics, with fellow CalArt students Mike Kelley and John Miller. He is widely collected by museums and institutions worldwide and currently works out of New York City.
Also showing at the Baldwin Gallery for the fifth time is acclaimed contemporary artist George Stoll. Widely known for his visual exploration of objects from everyday life (or better known as popular culture) the artist, in this series, delves even further into conceptualism with his drawings – an array of attractive and charming, soft-colored shapes on paper. The works on Duralar with colored pencils – 72 colors, never too saturated – are redolent of Stoll’s well-known wax cups, which are arranged into unique compositions on shelves according to shape and color. Stoll’s drawings are too arrangements – exceptional and deliberate – which form striking, conceptual compositions. Despite the calculated design, Stoll alludes to randomness in his arrangement of forms and their colors – the sizes are arbitrary, the pencil inconsistent – his erratic and tremulous display of forms possess the idiosyncratic behaviors of the hand. The shapes are not the perfect, manufactured-like shapes we are accustomed to seeing in our world, but their repetitive and automatic display is analogous to Pop art’s concept of the mass-produced. While Stoll creates replications of everyday life, they are imbued with a distinctive and inimitable style that merits the irony at play. Through the three elements of his drawings – color, texture and pattern – Stoll investigates what happens when tromp l’oeil become abstractions and in this process creates eye-catching drawings that possess a subtle propinquity to pop art and the sheer simplicity of Minimalism.
Born in Baltimore, Maryland in 1954, George Stoll lives and works in Los Angeles. His art is found in such public collections as the San Diego Museum of Contemporary Art, Brandeis University-Rose Art Museum, University of Washington-Henry Art Gallery, Seattle Art Museum, and the Museum of Contemporary Art, Los Angeles.
Images are available upon request. Please call 970.920.9797 for further information.
Tony Oursler, Cave, 2010, mixed media installation
George Stoll, Untitled (peony colors in an exploded grid), 2009. Colored pencil on Duralar, 20 7/8 x 20 7/8 x 2 in. (framed)
George Stoll, Untitled (72 colors in an exploded checkerboard #1), 2009. Colored pencil on Duralar, 21 x 21 x 2 in. (framed)