Artist Michael Genovese will participate in the TOTH Artist in Residence program to help prevent and intervene in youth violence through ongoing, multi-disciplinary arts education workshops at schools and community-based sites in underserved neighborhoods throughout Los Angeles County. Genovese will be working with over 200 students at four locations for 24 weeks in Pico Rivera, Compton, and Whittier, California (2018-19). His work with the students will include workshops and lectures that address language and text in art, Japanese “Ma” philosophy, California art and design history, and collaborative art making.
Michael Genovese (Artist)
Support Project Angel Food.
Angel Art, Art = Love is contemporary art auction benefiting Project Angel Food presented by United Talent Agency at UTA Artist Space, Beverly Hills. All proceeds go toward their mission of preparing and delivering healthy meals to feed people impacted by serious illness.
Project Angel Food ⍄
Morán Morán is pleased to announce a group exhibition, titled Objects to Identify, which marks the gallery’s ten-year anniversary. With a text authored by Brontez Purnell, the exhibition features work by Diana Al-Hadid, Brian Belott, Charlie Billingham, Keltie Ferris, Eve Fowler, Michael Genovese, Luis Gispert, Bendix Harms, George Herms, Terence Koh, Eric N. Mack, Robert Mapplethorpe, Anders Ruhwald, Jacolby Satterwhite, David Benjamin Sherry, Agathe Snow, Willie Stewart, Torey Thornton, Kon Trubkovich, and Nick van Woert.
Morán Morán ⍄
The Renaissance Society
"Los Angeles-based Michael Genovese’s recent paintings of colorful rectangles in some ways appear to conform to the well-worn conventions of minimalism and modernist color fields. But they complicate the story with an offbeat set of hues described by art and design historian Caroline Kane as "running the gamut of pale blue, turquoise, muted magenta, burnt orange, and dirty yellow … in a full-blown defiance of any color pairing principle from primary, secondary, and tertiary sets to tetratic, analogous, or simultaneous contrasts." The offset, asymmetrical arrangement of forms disturbs the functioning of the grid undergirding so much of modernist painting, resulting in compositions that appear simultaneously agitated and meticulous."- The Renaissance Society
Renaissance Society ⍄
Morán Morán is pleased to present, Form Shapes Language, an exhibition presenting works by seven artists – Angela de la Cruz, Ann Edholm, Torkwase Dyson, Michael Genovese, Tomashi Jackson, Anthony Pearson, and Hayal Pozanti – who communicate using spatial elements and geometric abstraction. Emphasizing the affinity between shape, form, and personal narratives, the works presented in this exhibition translate intent through the non-representational and the non-objective. Whether by traditional means, alternative materials, exploring the link between social politics and color theory, or by drawing parallels between abstraction and information technology, these artists carry geometric abstraction’s legacy, using it as a foundation for personal expression.
More Light at Joan Los Angeles
Curated by Gladys-Katherina Hernando with 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
Support: CASA Los Angeles
CASA of Los Angeles improves the lives of children in the dependency system by pairing them with trained advocates.
Nowhere in the nation is the problem greater than in Los Angeles County, where 30,000 children who have been abused or neglected are under the jurisdiction of the Dependency Court. One-third of these children are age 0-5; infants and toddlers are the fastest growing group of abused children. CASA provided one-on-one advocacy to 949 children in FY2017, in addition to 4,097 children with day-of-court assistance through Shelter Care.
CASA of Los Angeles Website ⍄
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.
Organized by Jody Zellen
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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.
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These days no one has time to wait. Spare seconds, minutes, let alone half-hours and 45-minute sessions have become increasingly expensive in our high-speed, high-resolution, pay-per-download Wi-Fi culture. Everything must be NOW or it risks being at all. At least this is the ideology ushered in through e-commerce, mass media, and corporate capital.
But bridge time does exist. This is the in-between time that stitches together those almost imperceptible instants and forgotten thresholds of passing, segues, and crossovers. In the human world, bridge time is walking across the office, crossing the street, or waiting for someone to answer your call. In the world of computing, bridge time involves downloading, processing, saving, storing, encoding and decoding, transmission, and mass dissemination. In fact, there is a significantly grotesque amount of bridge time in the world of “high-speed” computation. Hi-tech industry may not want us to take much notice of the ubiquity of these in-between states, but they are there, and they are also the key to developing a richer understanding of ourselves and the culture we live in.
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..
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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’.
“WJS: I love the idea of the “unseen,” as this is exactly what you are doing – you’re mining color that is only visible for a few moments from the text you are searching. In this way, you are getting at some kind of interior space, that may not be initially legible, on what looks like highly polished, hard-edged abstract paintings. After all, the origin of abstraction was exactly the search for something that is perpetually unseen – a universal language, some sort of expression without speech that transcends culture, and enters the realm of the spiritual. The other component of the “unseen,” however, is an element of control. Even the most minute experiences we have on our phones are regulated. Is there something nefarious latent in your project? I’m reminded of that very famous Barbara Kruger image/book Remote Control (1994). There is also a connection to Sarah Charlesworth’s Modern History series, in which information and socio-political relationships become reduced to formal relationships.
MG: I’m looking for that quiet and undefined space between information, and what you refer to as the interior space – that flawed moment in translation, color, and order, right before it fails...”
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Paris, London, Hong Kong presents Joliet, a solo exhibition of new work by Los Angeles-based artist Michael Genovese. "Joliet features a series of plasma-cut steel wall reliefs that explore the value of space, isolation, and stillness. The exhibition’s title references the Illinois city of Joliet, originally spelled Juliet, which is considered by many a small prison town. The connotations of the name (Shakespeare’s Juliet and the city’s reputation), raise a sense of longing and contemplation, and the tension of restraint. Genovese’s works resemble large cracks along the gallery walls, causing a consideration of the confined space and the perimeters, therein. The weighted steel works are the culmination of historical fractures, political, and popular culture references, which Genovese traces and removes from their original context and repurposes for his practice. He employs a reduced material vocabulary as a means to quiet the mind and heal information overload. In doing so, he leaves the viewer in a contemplative confinement; left to confront their innermost thoughts, fears, and desires."
“Lines and Cracks and Zebras and Horses – a recently completed body of work based on lineation, cleave, and the concept implied by the aphorism: “When you hear hoof beats behind you, don’t expect to see a zebra.” A series of plasma-cut steel wall reliefs located throughout the gallery compose a subtle arrangement based equally on materiality and concept.
These raised, sculptural “drawings” suggest following the maxim that common sense is the shortest distance between two points or to recognize the grace in directness. Genovese recreates various, common occurrences of line – an architectural fracture; a hair in the bathtub; the mark of automatic writing; a military line of demarcation; a varicose vein, or a simple fabric seam. He considers where these delineations appear, why they develop, and how they are finally perceived. With a piece titled Mimesis, 2012, Genovese merges a crack found in a Pompeii fresco with a line from Metallica’s …And Justice for All album cover artwork. By stitching these unrelated strands together, Genovese formulates a new pattern, but one that still reads as spontaneous as chance. The compound of seemingly disparate fissures subsequently reveals self-similar patterns, as in the logic of fractal mathematics. Therefore, variations in contour between unrelated sources are not as far removed from one other as they may first appear, and conceptually framed, what one assumes a chasm may actually serve as a suture.”
Project journal ⍄
“Walking into Michael Genovese’s exhibition at OHWOW, a viewer might think there’s been a horrible earthquake, or that the space is simply in a state of disrepair. Snaking over the surface of every wall are large, meandering cracks, with unsettling implications for the building’s structural integrity.
But this unease dissipates quickly. The fissures are in fact shiny and metallic, as if filled not with putty but quicksilver. And closer inspection reveals that they are not cracks at all but cut metal objects, affixed to the walls.
This realization feels like a bit of bait-and-switch. Genovese’s installation comes on like a site-specific piece — an engagement with the space of the gallery itself. But the fact that the “cracks” are actually individual sculptural pieces that can be removed and possibly reapplied to different walls feels cynical. They are then just objects to be bought and sold. Not that there’s anything wrong with that. But additional context is provided by a photocopied book depicting fissures and lines of all kinds: cracks in the sidewalk, maps, zebra stripes, a pendant split into two halves.
Genovese is interested in how lines divide and connect; create distance or communication. His sculptures turn these vectors into objects in their own right, emphasizing the spaces in between rather than on either side. In our increasingly Balkanized political climate, it’s a more than welcome metaphor.” - Sharon Mizota, Los Angeles Times
“The title of Michael Genovese’s exhibition (Lines and Cracks and Zebras and Horses) draws in part on a colloquial aphorism — “when you hear hooves beat behind you, don’t expect to see a zebra” or “when you hear hooves beat, think horses, not zebras” — which typically is understood to evolve from the principle of Occam’s (or Ockham’s) razor. Attributed to the 14th century logician and Franciscan friar William of Ockham, the principle states, “Pluralitas non est ponenda sine necessitate,” or “Entities should not be multiplied unnecessarily.”
Over time, this principle has been largely misunderstood to mean that as a general rule, in both science and philosophy, one should stick with the most “obvious” hypothesis or conclusion, as that is typically the correct one. In fact, what Occam proposed was a guideline to developing a theory, not a conclusion: the idea that when you have competing theories that make the same predictions/conclusion, the simpler is better. Importantly, the notion of simpler is not necessarily what seems most obvious (which usually includes one’s untested biases, preferences and predilections), but rather the one with the most observable elements (empirically testable), the fewest new assumptions.” Continue Reading ⍄