Kaycee Olsen Gallery

Kaycee Olsen Gallery http://kayceeolsen.com/ en Copyright 2012, Kaycee Olsen Tue, 7 Feb 2012 00:31:04 -0500 Exhibition: Pacific Standards <div class="exhibition-subtitle"></div> <div class="exhibition-dates">September 21, 2011 - February 1, 2012</div> <br/> <a href="/exhibition/view/2254"><img border="0" src="http://kayceeolsen.com/static/dyn-images/43/43884.jpeg" alt="" height="480" width="367" /></a> <p>Ed Ruscha, <em>Roadrunner</em>, 1998</p> <p> Lithograph printed in color, 30" x 22.5" </p> <br /> <div class="exhibition-description"></div> http://kayceeolsen.com/exhibition/view/2254 Exhibition: Andrew Guenther <div class="exhibition-subtitle">Corn, Tobacco, and Other Stories</div> <div class="exhibition-dates">May 20 - July 30, 2011</div> <div class="exhibition-opening">Opens Saturday, May 21, 5:30 PM - 8:00 PM</div> <br/> <a href="/exhibition/view/1984"><img border="0" src="http://kayceeolsen.com/static/dyn-images/42/42590.jpeg" alt="" height="662" width="500" /></a> <p>Andrew Guenther, <em>Tobacco</em>, 2011</p> <p> Acrylic, colored pencil, cardboard, and papier-mâché on linen, 48" x 36" </p> <br /> <div class="exhibition-description"><p><span class="caps">ANDREW GUENTHER</span> Corn, Tobacco, and Other Stories <br /> May 21 - July 30, 2011<br /> Artist Talk: Saturday, May 21, 5:30pm<br /> Opening Reception: Saturday, May 21, 6:00 - 8:00pm<br /> Discussion and Reception are open to the public <br /> </p> <p>Kaycee Olsen is pleased to announce Andrew Guenther: Corn, Tobacco and Other Stories, the next exhibition in her gallery at 2685 South La Cienega Boulevard, Los Angeles. The exhibition features paintings, drawings, and photographs executed over the past year. This is Guenther's first one-person exhibition at Kaycee Olsen Gallery.<br /> <br /> The subjects of the work include; tobacco plants, corn stalks, women with paper plate faces, a whale, hot dogs, Grecian urns, the folds of the canvas itself, a silver sail; symbols from Guenther's personal lexicon alluding to both familiar and foreign stories. The artist used fewer than three colors for each of most paintings for this exhibition. The nature of the paintings' ground is allowed to be it's own color as is the texture of each material. </p> <p>Guenther applied papier-mâché to his "plate face" paintings - which are white except for linen or chip - board peeking through in some areas. His drawings are papier-mâché figures in relief against dreamy watercolor grounds.<br /> Guenther also used the French named sculpting technique to create an urn, which he then broke and photographed. <br /> <br /> Andrew Guenther graduated with a Master's of Fine Arts from Rutger's University in 2000. Guenther's work has been exhibited domestically and abroad at Galerie Perrotin, Paris, Motus Fort, Tokyo, Andrew Rafacz, Chicago, and Freight and Volume, New York. His work has been featured in a number of publications including: Artforum, Whitehot Magazine, Painting People: Figure Painting Today, The Triumph of Painting, and Tricycle Magazine, a Buddhist review. He lives and works in Brooklyn, New York.</p></div> http://kayceeolsen.com/exhibition/view/1984 Exhibition: Melanie Willhide <div class="exhibition-subtitle">to Adrian Rodriguez with love</div> <div class="exhibition-dates">April 2 - May 14, 2011</div> <div class="exhibition-opening">Opens Saturday, April 2, 5:30 PM - 8:00 PM</div> <br/> <a href="/exhibition/view/1952"><img border="0" src="http://kayceeolsen.com/static/dyn-images/40/40702.jpeg" alt="" height="456" width="500" /></a> <p>Melanie Willhide, <em>Beefcake and Betsy</em>, 2011</p> <p> Ink jet print, 14" x 13"; 20" x 18.75"; 30" x 28" </p> <br /> <div class="exhibition-description"><p><span class="caps">MELANIE WILLHIDE </span>to Adrian Rodriguez with love <br /> April 2 - May 14, 2011<br /> Artist Talk: Saturday, April 2nd, 5:30pm<br /> Opening Reception: Saturday, April 2nd, 6:00 - 8:00pm<br /> Artist Talk and Reception are open to the public</p> <p>Kaycee Olsen Gallery is pleased to announce to Adrian Rodriguez with love, a solo exhibition of new work by Los Angeles-based photographer Melanie Willhide, from April 2nd - May 7th 2011.</p> <p>At 5:30pm, Saturday, April 2nd, the evening will commence with a 20-minute Artist Talk with 3Melanie Willhide as part of the ongoing series "In Conversation with Kaycee Olsen." </p> <p>To simultaneously be romanced and deceived by an image has been written, parodied and mythologized throughout recorded time. The Little Match Girl, John Frankenheimer's film Seconds, Narcissus, even Match.com</p> <p>Here Willhide presents a cautionary tale about illusion in to Adrian Rodriguez, with love.<br /> The title is a dedication to the person who burglarized the artist's home in the spring of 2010. He stole and erased the artist's hard drive. In a twist of fate the computer was returned. Recovery software returned the artist's digital images corrupted. Rather than attempting to recreate what was lost, Willhide made the bold move to work with the corrupted files. Treating the pixels more like paint, Willhide takes the corrupted image files and augments them. This accident as artwork offers the viewer a formal two for one--both abstraction and realism in the same picture plane.</p> <p>There is a tension between the edge of the image and its degradation. In one image two bodies are split and shifted; in another a young boy appears to be releasing his spirit from his spine; and in a third, what seem like two cocoons replace the bodies of two smiling women. The incongruous images boast an off-color palette, making the once-impressive digital apparition seem particularly vulnerable to the potential failure of the machines with which we record and create them.</p> <p>Perhaps a warning against trusting the images of our lives to the digital device--or perhaps finally freeing the photographer from the burdensome conversation around the staged versus the real--Willhide finds new possibilities in an increasingly digital medium. to Adrian Rodriguez with Love marks Willhide's first solo exhibition in Los Angeles. </p> <p>Melanie Willhide has an <span class="caps">MFA </span>in Photography from Yale University and a <span class="caps">BFA </span>in Photography from Rhode Island School of Design. Her work has been covered by The New York Times, The Boston Globe, Time Out magazine and American Photography. Willhide has shown throughout the country from San Francisco and New York to Miami and Boston. She is also the recipient of the 1999 Rhode Island School of Design <span class="caps">T.C.</span> Colley Award and the 2002 Yale University Ward Cheney Memorial Award for Technical Proficiency. Willhide's work is also in several collections, including the Yale University Davenport Collection, the Paul and Barbara Kaben Collection, the Schaffer Collection and the Deschanel Collection.</p></div> http://kayceeolsen.com/exhibition/view/1952 Exhibition: Jesse Finley Reed <div class="exhibition-subtitle">Olly Olly Oxen Free</div> <div class="exhibition-dates">February 19 - March 26, 2011</div> <div class="exhibition-opening">Opens Saturday, February 19, 6:00 PM - 8:00 PM</div> <br/> <a href="/exhibition/view/1951"><img border="0" src="http://kayceeolsen.com/static/dyn-images/40/40629.png" alt="" height="331" width="500" /></a> <p></p> <br /> <div class="exhibition-description"><p><span class="caps">JESSE FINLEY REED</span> Olly olly oxen free<br /> February 19 - March 26, 2011 <br /> Artist Talk: Saturday, February 19th, 5:30pm <br /> Opening Reception: Saturday, February 19th, 6:00 - 8:00pm <br /> Discussion and Reception are open to the public</p> <p>Kaycee Olsen Gallery is pleased to announce Olly olly oxen free, a solo exhibition of new work by Los Angeles-based artist Jesse Finley Reed, from February 19th - March 26th, 2011.</p> <p>At 5:30pm, Saturday, February 19th, the evening will commence with a 20-minute Artist Talk with Jesse Finley Reed and a very special guest, moderated by Kaycee Olsen, as part of the ongoing series "In Conversation with Kaycee Olsen." The Talk will focus on the details of Reed's work, particularly the intersection of photography and queer aesthetic.</p> <p>Olly olly oxen free is a phrase used by children while playing games such as hide-and-seek to suggest that those who are still hiding can reveal themselves without losing the game. The phrase itself seems to have taken on many incarnations and phonetic spellings throughout its years of appropriation by children. It has been suggested that it originally stems from, "All ye, all ye 'outs' in free", according to Dictionary of American Regional English, or "all who are 'out' may come in without penalty."</p> <p>Drawing on the mischievousness associated with this phrase--all those who are "out" may come in without negative consequences--Reed also taps into its queer connotations, taking the double entendre of the playfuness of the phrase's origins with the seriousness of its implications as the cornerstone of Olly olly oxen free. Queerness plays a significant role in the reading and creation of his work, not only as an indication of sexual orientation but also as something in relation to the strange or uncanny. In Olly olly oxen free Reed explores how temporal materials, including lighting, decoration and objects can transform bodies, hallways and nightclubs into something strange or somehow 'other.'</p> <p>Through the work, his visual images and objects sit in disjunction with quotidian representations of his subjects: nightclubs are brightly light, rather than dark and sexy; hallways and doorways lead us to a location without letting us in; male bodies are almost revealed, remaining in a liminal space, a threshold between coming forward and receding into darkness.</p> <p>Jesse Finley Reed has an <span class="caps">MFA </span>in photography from Yale University and a <span class="caps">BFA </span>from Tufts University. He has shown around the world in cities as varied as Berlin, Boston, Mexico City and New York. Reed is the winner of the 2005 <span class="caps">DAAD</span> Research Grant in Berlin and was a finalist for the Fulbright Travel Grant and the Hayward Prize. His work has been covered by Frieze magazine, Time Out New York, Artforum.com and artUS. Olly olley oxen free marks Reed's first solo exhibition in Los Angeles.</p> <p>Kaycee Olsen Gallery is dedicated to presenting emerging and mid-career artists with a programming concentration on Los Angeles contemporary artists, and collaborative projects from New York and Europe.</p></div> http://kayceeolsen.com/exhibition/view/1951 Exhibition: Josh Peters <div class="exhibition-subtitle">Furious Seasons</div> <div class="exhibition-dates">January 8 - February 12, 2011</div> <div class="exhibition-opening">Opens Saturday, January 8, 5:30 PM - 8:00 PM</div> <br/> <a href="/exhibition/view/1950"><img border="0" src="http://kayceeolsen.com/static/dyn-images/39/39274.jpeg" alt="" height="281" width="500" /></a> <p></p> <br /> <div class="exhibition-description"><p>Opening Saturday, January 8th, 2011*</p> <p><strong>Panel Discussion: January 8th, 5:30pm</strong><br /> <strong>Opening Reception: 6:00pm - 8:00pm</strong><br /> <strong>Discussion and Reception are open to the public</strong></p> <p>At 5:30pm, Saturday, January 8th, the evening will commence with a 30 minute Panel Discussion with Josh Peters, Ezrha Jean Black, and Geoff Tuck, moderated by Kaycee Olsen, as part of the ongoing series "In Conversation with Kaycee Olsen." </p> <p>This discussion will reveal the formal aspects of Peters' painting, including the themes of Furious Seasons, which include Peters' mining of still images from obscure films and the inspiration the artist took from a short story by the author Raymond Carver, of which the title of the exhibition Furious Seasons is borrowed.</p> <p>Josh Peters' most recent paintings in Furious Seasons can be described as both portrait-mask-icons and figures-in-landscape paintings. Figuratively, the subjects are mainly taken from films, albeit mostly obscure with little inherent 'iconic' value associated. Peters makes references to figures "away from civilized society," or, more ambiguously, "a sense of impending violence or spiritual awakening lurking just under the surface." In Peters' recent work, these polarities register side by side, beneath surfaces both saturated and scraped to the canvas (or frequently, especially in larger scaled work, linen), and in either case, luminous with a glow that seems to emanate from within, irradiating both its subjects and whatever space it happens to inhabit, including the viewer's own interior space. Most of this material falls loosely into a category we might label 'mood' or 'atmospheric,' with a few qualifiers. Peters is clearly looking for certain conditions, the 'incident' or its potentiality, the possibility of creating a certain, transformative moment, of communion between subject and artist and viewer. This is not a narrative style, the spaces of these paintings are transparently abstract, existential, but almost quintessentially lyrical.</p> <p>The Kaycee Olsen Gallery has produced an accompanying catalogue for the exhibition, Furious Seasons, featuring an essay by Ezrha Jean Black, an interview with the artist conducted by Geoff Tuck, images from Furious Seasons, and additional selected works. The catalogue will be available for purchase in the gallery.</p></div> http://kayceeolsen.com/exhibition/view/1950 Exhibition: Christine Frerichs <div class="exhibition-subtitle">On Recognition</div> <div class="exhibition-dates">October 30 - December 18, 2010</div> <div class="exhibition-opening">Opens Saturday, October 30, 5:30 PM - 8:00 PM</div> <br/> <a href="/exhibition/view/1924"><img border="0" src="http://kayceeolsen.com/static/dyn-images/38/38570.jpeg" alt="" height="497" width="500" /></a> <p></p> <br /> <div class="exhibition-description"><p>Kaycee Olsen Gallery is pleased to announce On Recognition, a solo exhibition of new work by Los Angeles based artist Christine Frerichs, from October 30 - December 18, 2010.</p> <p>At 5:30 pm, Saturday, October 30th, the evening will commence with an intimate 20 minute Artist Talk with Christine Frerichs in conversation with Kaycee Olsen. This discussion will reveal the formal aspects of Frerichs' painting and drawing, including the themes of On Recognition, which include Frerichs' candid engagement in the process of recalling, resolving, and revising memory. The Artist Talk and reception are open to the public.</p> <p>On Recognition marks Frerichs' first solo exhibition and presents a series of paintings and drawings demonstrating Frerichs' ongoing interest in repetition and memory. In these works, she playfully examines the process of recognition or 'knowing again', by extracting the visually and emotionally potent aspects of a memory - a person's flesh tone, the lavender sweater her mother wore, the particular green color of the grass in Bryant Park, New York. Using color, composition, texture and form, she then systematically reconstructs these memories with layers of interlocking paint, resulting in expressively psychological portraits, at once vulnerable and questioning.</p> <p>Frerichs developed this language of pattern and portraiture through the consideration of repetition - what function repetitive behaviors might serve, and what they reveal and conceal on a psychological level. </p> <p>There is a structural similarity between the construction of the paintings, through accrual of marks and colors culled from memory, and the way the psyche develops, through repetitive interactions with one's environment and responses based on past experiences. In the case of these paintings, the marks that reveal themselves on the surface, also function in partially concealing the previous layers beneath, simultaneously 'showing one's face' and hiding one's past. Her work often calls up this relationship between obstacle and desire -- layers of interrupting patterns, smudged or blurred faces - and the emotional responses associated with it, from longing or loss to humor and pleasure. <br /> <br /> These ideas of memory and emotion materialize in the six-by-six foot painting, Two Figures in a Landscape. One figure is represented by shifting shades of repeating purple hatches, each color shift noting a different day Frerichs attempted to match a particular purple sweater from memory. The flesh color layered atop these hatches is used as a stand-in for Frerichs, who collaborated with Gamblin paint company, to create the custom color based on her own fleshtone. This color appears throughout her work, as in the head-sized painting The Approach, where a dissipated cluster of darks and lights converge to resemble a form seen only from a distance or through squinted eyes. Through distinct formal means,the paintings and drawings in On Recognition reveal Frerichs' candid engagement in the process of recalling, resolving and revising memory.</p></div> http://kayceeolsen.com/exhibition/view/1924 Exhibition: Jeff Sheng <div class="exhibition-subtitle">Don't Ask, Don't Tell</div> <div class="exhibition-dates">September 18 - October 23, 2010</div> <div class="exhibition-opening">Opens Saturday, September 18, 6:00 PM - 8:00 PM</div> <br/> <a href="/exhibition/view/1908"><img border="0" src="http://kayceeolsen.com/static/dyn-images/36/36941.jpeg" alt="" height="333" width="500" /></a> <p></p> <br /> <div class="exhibition-description"></div> http://kayceeolsen.com/exhibition/view/1908 Exhibition: Inaugural Exhibition <div class="exhibition-subtitle"></div> <div class="exhibition-dates">May 22 - August 14, 2010</div> <div class="exhibition-opening">Opens Saturday, May 22, 6:00 PM - 8:00 PM</div> <br/> <a href="/exhibition/view/1907"><img border="0" src="http://kayceeolsen.com/static/dyn-images/34/34150.jpeg" alt="Inaugural Exhibition, 2010, installation view" height="231" width="500" /></a> <p><p>Inaugural Exhibition, 2010, installation view</p></p> <br /> <div class="exhibition-description"></div> http://kayceeolsen.com/exhibition/view/1907