Michael Genovese (artist) Recent exhibitions and press
JOAN LOS ANGELES | more light
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"
More information at JOAN LOS ANGELES →
THE RENAISSANCE SOCIETY | ren ben
"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."
wall paintings | 102 n. 6th. street | brooklyn, NY.
Two permanent interior wall paintings, Gesso and Nova color, 156 X 78 inches, The General at 102 N. 6th Street in Brooklyn, NY.
Open to the public
THE BELLY AND THE MEMBERS | CURATED BY ANTONIA MARSH | COB LONDON
"The Belly and the Members brings together artistic positions from 20 international artists that visualise and present the fragmented body as a provocative field of inquiry. Including work from a variety of media, the exhibition focuses on notions of fragmentation, dismemberment and decay specifically in relation to the human body and its inextricable psychological self. The Belly and the Members shares its title with an Aesop Fable from the 6th century BC wherein the extremities, or ‘members’, of the body go on strike in defiance of the belly who they believe to be greedily taking all the food; until they themselves weaken to the point of realisation that they cannot survive alone. The discernment that “all must work together or the body will go to pieces” becomes an allegory for a symbiotic reliance on reciprocal interrogation between artworks.
The Belly and the Members posits that the ontology of an artwork has much in common with the body: responding to pressures, meeting projected expectations and as an outward expression of an inner self whose surface remains a sensitive terrain susceptible to exterior traumas. As our interface with an external world, individually we each relate to the experience of inhabiting a body; but once dissembled, fragmented bodies stand collectively as analogies for our increasingly disparate society and global territories more generally. Living in what has been referred to as a “post-truth” world, the boundaries between fiction and reality come under scrutiny as artists compel a self-reflective reassessment of the political as well as the personal..."
COMMUNIVERSITY |KNOW WAVE AT NO VACANCY INN | ART BASEL MIAMI BEACH
In conversation with Don Lambert and Harold Mendez about music, history and recent projects.
Listen at know-wave.com
NADA NYC | KNOW WAVE | BASKETBALL COURT DESIGN
NADA is teaming up with Know Wave to host The NADA Hoops Know Wave 3-on-3 Streetball Tournament at NADA New York 2016.
The court, designed by Michael Genovese, will be open for pick-up basketball on Thursday and Friday, culminating in men’s and women’s tournaments on Saturday.
NADA NYC |CHASING WIND 1 AND 2 | MORAN BONDAROFF
ARTREVIEW | INTERVALS exhibition in los angeles
"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." Read the full review →
THE MONOCLE ARTS REVIEW | EPISODE 215
"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." Continue Reading →
INTERVALS | MORAN BONDAROFF | LOS ANGELES
"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.
In this instance, Genovese used a macro approach to amass content, revealing that a broader source yields a more abstract result. Each piece in the Interval series images a minimalist version of simulacra. The artist re-created original artworks appropriated from digital substitutes for representational images – compositions that are now hyperreal, and subsequently truthful, in their own right. He permanently suspended algorithmic artifice by identifying these search- engine thumbnail placeholders as aesthetic illuminations..." View Exhibition →
BRIDGE TIME | EXHIBITION ESSAY | CAROLYN L. KANE
"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." Continue Reading →