Michael Genovese (Artist)
Form Shapes Language
Group Exhibition at Joan Los Angeles
Loren Abbate, C. P. Badger, Michael Carter, Manny Castro, Michael Genovese, Marcos Lutyens, Adam D. Miller, Christina Ondrus, Ali Prosch, David Schafer, Katie Shapiro, Astri Swendsrud, Mungo Thomson, and Landon Wiggs
It is one of the commonest of mistakes to consider that the limit of our power of perception is also the limit of all there is to perceive. –C.W. Leadbeater
Sometimes he saw his real face / And sometimes a stranger at his place / Even the greatest stars find their face in the looking glass. –”The Hall of Mirrors,” Kraftwerk
The darkest place is underneath the lamp. -Chinese proverb
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MIS (Missing) Information
Group Exhibition organized by Jody Zellen
Mis (missing) Information is an exhibition of artists who draw from ‘the media’ in one way or another and make works that exclude information, requiring viewers to contemplate what is missing, what is left, and why. Beginning with an image, a Google search, a make-ready or the daily newspaper, the artists in this exhibition transform the given, infusing it with new content and meaning. The artists include Merwin Belin, Jan Blair, Andrea Bowers, York Chang, Michael Genovese, Elissa Levy, Brian C. Moss, Michael Queenland, Casey Reas, Susan Silton, Samira Yamin, Andrew Witkin and Jody Zellen. Mis (missing) Information is co-organized by Jody Zellen and Brian C. Moss.
While information and media have an increasingly digitized connotation, many of the artists in this exhibition start with the daily printed newspaper. It appears every morning, waiting to be read, deciphered and digested. Each edition represents an accounting of yesterday’s events and reflects our preoccupations with power and money, death and disaster, the quotidian and the glamorous, and a need to participate in the larger culture. Continue Reading ⍄
The Monocle Arts Review
Exhibition Review by Francesca Gavin
Robert Bound: Tell us about Michael Genovese’s pieces. This one I feel in doing some preparatory note taking, I did need to be talked through it. Maybe you can fill me in.
Francesca Gavin: Genovese is great, I’ve been a fan of him for a long time. He is originally from Chicago and now he lives and works in Los Angeles. This show is an interpretation of the play on the history of abstraction and also touches in with the idea of how we use our phones. What he did is he looked up different words on his on phone, let’s take the word “guilt” and before things turn over and you’re using google image search you’re presented with these colored, cubic shapes and he’s translated that into these very finely made paintings. So, its very much about a translation of technology from one medium to another, but also at the same time, how do you reinvent our relationship to the abstract in a way that’s contemporary and interesting and has meaning, and I think he does it really well. The format of the paintings echoes the same kind of ratio of the actual format of a phone screen, so very much like, narrow and tall. Michael Genovese’s work at the moment is touching in on this heritage of Josef Albers or Ad Reinhardt, and this history from the 1960’s that’s being given new meaning in a contemporary context.
Robert Bound: What you’re looking at is neither one thing or another, its seems like a very contemporary/ futuristic take on the great subject of so many classical paintings; a sunrise or sunset, it neither here nor there, do you know what I mean? Do you get a sense of nature with this or does these seem exceptionally digital and machine made, not the images themselves, but what Michael Genovese is referencing?
Francesca Gavin: What I really like about this work is that there is a real physicality to it. It feels like it’s an object, it doesn’t feel digital, it doesn’t feel like something clinical in that sense or digitized. You really feel like someone has painted it, which I think is quite important and interesting. Personally, I am really fascinated about our relationship to screens, which I think is very different from our relationship to say television or movies, that kind of cinematic heritage. I think now we have a much more intimate relationship to the screen object/the phone, we touch it in our pocket, it becomes a more extension of ourselves in a way. So I think this is a really important and interesting thing that a lot of artists are addressing in this point and time. This is a very classic way of interpreting that. Other people have used this similar approach such as Rafael Rozendaal, but I think Mike’s new work has a real sense of depth to how it’s materialized.
Francesca Gavin is an Art Curator and Writer.
Robert Bound is a Cultural Editor at The Monocle, London.
Transcribed From: http://monocle.com/radio/shows/the-monocle-arts-review/251/
Exhibition Review by Larry Wilcox
When the Dallas Museum of Art installs its Piet Mondrian collection, the result is illuminating. The museum has enough work, made over a long enough period of time, to allow one into the artist’s head, to see his particular form of pictorial reduction. In the world of popular Mondrian (in which his work is found on coffee cups, cupcakes and Yves Saint Laurent dresses), it is easy to forget the moody plein-air roots of the artist’s blocks of color and black lines. Mondrian painted liminal moments, when the fading sun threw dark shadows and stark contrasts across a row of trees. Analysing moments of transition or in-between spaces was how Mondrian attempted to show the structure of vision.
Michael Genovese’s new paintings recall Mondrian: they offer the grids of colour, perfect surfaces and hard-edge look that made Mondrian a force not only in art but in design. However, Genovese’s grids do not derive from the crepuscular, but instead from moments of transition found online. Specifically, he finds his abstractions through a Google Image search algorithm, which fills (only for an instant) a browser grid with blocks of colour just prior to the full loading images. The result is a momentary abstraction, a visual stand-in for whatever topic that brings a person to Google. If one’s computer has a fast connection, this intermediate Google space may be impossible to see altogether.
Using a screenshot, Genovese matches the color of the grid exactly. The searches that he uses to produce the the colour grids from Google are suggestive and romantic on purpose; words like ‘guilt’ and ‘pessimism’. Genovese paints the resulting grids on canvas, using accumulating layers of gesso and urethane until the surface is flat, pristine and glossy. The vertical works are slightly larger than a door and installed close to the ground; they are human scale, large enough to contain a viewer in their space. As evidenced by Elation(2016), the paintings offer a sober view of their subject matter. The colors seem pleasingly matched no matter whether the search was for ‘astonishment’ or ‘rage’.
Solo Exhibition at Moran Bondaroff
Moran Bondaroff Is Pleased To Announce Michael Genovese’s Third Solo Show With The Gallery, Titled Intervals. This Exhibition Presents A New Body Of Work Comprised Of Large-Scale Paintings Of Urethane On Gessoed Canvas, Which Visually Derive From Screen Grabs Of Keyword Image Searches, Specifically, The Grid That Briefly Appeared While Images Were Loading On His Mobile Phone. Proportionally Scaled To The Screen Ratio, These Paintings Replicate The Exact Color And Pattern That Occurred During Each Image Query Interim. For Over Ten Years, Social Practice And Archives Have Remained An Active Interest For The Artist, As He Has Worked Through Various Methods And Diverse Pursuits Toward Accumulating Material.
Today, Any Moment Or Thing Can Become Decisive (As Trend, Fashion, Crowd Sourced, Etc.) Provided It Is Supported Through The Appropriate Media Channels And Public Platform. And As Is Also Well Known, Such Instants Die Out As Quickly As They Are Made. Easy Come Easy Go. And This Is Precisely What Genovese Has Brought Into Focus By Transforming A Set Of Exceedingly Banal Passing Moments––Moments Not Meant To Be Noted Let Alone Reflected On––Into Frozen And Static Paintings, Immortalized In Time. Put Differently, By Aestheticizing The Most Vernacular Slice Of The Infrathin, Genovese Brings Into Resolution The Pervasive Ways In Which Our High- Speed Culture Privileges Nothing And Values Reflection Even Less. As Artists, Thinkers, Or Cultural Producers, It Is Our Responsibility To Reevaluate Such Cultural Throwaways, Even If Only To Restore A Much-Needed Pause In The Nonstop March To Greater And Greater Acceleration. (Excerpt From Carolyn Kane’s Essay, Bridge Time)