Mit Famous Table at Furniture Presented at Art Fairs 2018

Sam Francis & Thaiwijit Puengkasemsomboon

Thaiwijit Puengkasemsomboon
Untitled (pink, black, orange), 2017
Oil on canvass
28 7/8 x 21 three/viii in. / 73 x 54 cm.

Sam Francis
Untitled, 1985
Acrylic on sheet
vii i⁄viii 10 5 i⁄2 inches

Richard Long
Untitled (D, Due east, F - Vertical), 1994
Suite of three lithographs printed in black on hemp newspaper
33 10 21 i/2 in. / 83.eight x 54.6 cm. each
Edition of 40

Richard Long, Sam Francis and Thaiwijit Puengkasemsomboon

Thaiwijit Puengkasemsomboon and Robert Rauschenberg

Robert Rauschenberg
Spot, 1964
Lithograph
41 1⁄iv x 29 5⁄8 in. / 105.4 10 75.3 cm.
Edition of 37

Thaiwijit Puengkasemsomboon
Untitled (filigree), 2017
28.seven x 21.3 in (73 x 54 cm)

Somluk Pantiboon and Robert Motherwell

Robert Motherwell
Roth-Händle, 1975
Brushed aquatint and collage
19 1/two x 15 5/viii in. (49.five 10 39.seven cm)
Edition of 53

Somluk Pantiboon, Robert Motherwell, Thaiwijit Puengkasemsomboon, Robert Rauschenberg and Mit Jai Inn

Robert Rauschenberg, Franz Due west, Larry Zox, Angkrit Ajchariyasophon and Mit Jai Inn

Angkrit Ajchariyasophon
1803, 2018
Oil on canvass
47 i/4 x 35 3/8 in. / 120 10 90 cm.

Larry Zox
Untitled (Pochoir I-5), 1975
Suite of 5 colour stencil prints, printed
with water-colors and gouache
23 ane⁄8 x 22 inches each
Edition of twenty

Robert Rauschenberg
Kip Up, 1964
Lithograph
41 ane/4 x 29 5/8 in. / 104.7 10 75.3 cm.
Edition of 33

Franz West
Klienes Passstuck (Pocket-sized Adaptive), 2001
Epoxy casting with painted wood base and
photo-document
74 three/eight 10 7 vii/eight x 9 1/eight in / 189 10 twenty 10 23 cm.
Edition of 25

Somluk Pantiboon, Franz West, Larry Zox, Angkrit Ajchariyasophon and Mit Jai Inn

Mit Jai Inn
Untitled (#Whatsoever-one), 2018
oil on canvas, two sides
29.5 10 118.ane in (75 x 300 cm)

Somluk Pantiboon, Gary Stephan, Robert Motherwell, Thaiwijit Puengkasemsomboon, Robert Mangold and Mit Jai Inn

Somluk Pantiboon
Untitled (Pink, Yellow, Brown), 2018
clay pigment and acrylic on mulberry paper
42.9 x 33.1 in (109 x 84 cm)

Gary Stephan
If - Then, 1974-75
Suite of six aquatints on
Handmade paper
19 1⁄2 x 25 1⁄2 in. / 49.5 x 64.8 cm. each
Edition of 50

Somluk Pantiboon, Gary Stephan, Robert Motherwell and Mit Jai Inn

Robert Motherwell
Talith for Meyer Shapiro, 1973
Aquatint
41 ane⁄2 x 29 1⁄2 in. / 105.iv ten 79.4 cm.
Edition of 10

Thaiwijit Puengkasemsomboon and Robert Mangold

Thaiwijit Puengkasemsomboon
Untitled (Monochrome 1), 2017
oil on canvas
47.2 10 35.four in (120 x xc cm)

Robert Mangold
Fragment Eight, 2000
Colour lithograph
36 1⁄ii ten 70 in. / 92.7 ten 177.viii cm.
Edition of 48

Mit Jai Inn
Untitled (#ANY-2), 2018
Oil on canvass, 2 sides
31 i/2 10 137 seven/eight in. / 80 ten 350 cm.

Thaiwijit Puengkasemsomboon, Robert Rauschenberg and Mit Jai Inn

Thaiwijit Puengkasemsomboon and Robert Rauschenberg

Thaiwijit Puengkasemsomboon
Untitled (Purples), 2017
oil and spray paint on canvas
47.ii ten 35.4 in (120 x xc cm)

Robert Rauschenberg
Front end Roll, 1964
Lithograph
41 1⁄2 x 29 3⁄4 in. / 105.iv x 75.6 cm.
Edition of 39

Robert Rauschenberg and Thaiwijit Puengkasemsomboon

Thaiwijit Puengkasemsomboon
Untitled (Grayness with Pinkish), 2017
oil on canvas
28.7 x 21.iii in (73 x 54 cm)

Richard Tuttle
In Praise of Historical Determinism I, II, III, 1974
Suite of three colour lithographs
30 x 22 in. / fifty.8 x 55.9 cm. each
Edition of 50

Richard Tuttle, Angkrit Ajchariyasophon and Franz West

Angkrit Ajchariyasophon
1608, 2016
oil on canvass
47.2 10 35.4 in (120 10 90 cm)

Franz W
Creativity: Article of furniture Reversal, 1998
Two chairs, table, lamp, colored duct tape
and video (which colapses into its own crate)
28 1/2 x 38 10 28 in. / 72.4 x 96.five 72.1 cm. (closed dimensions)
Edition of 30

Angkrit Ajchariyasophon and Franz Due west

Angkrit Ajchariyasophon
1803, 2018
oil on canvas
47.ii ten 35.4 in (120 x 90 cm)

 Angkrit Ajchariyasophon, Thaiwijit Puengkasemsomboon, Richard Tuttle and Robert Motherwell

Thaiwijit Puengkasemsomboon
Untitled (yellow stripe), 2017
oil on canvas
28.vii x 21.3 in (73 x 54 cm)

Richard Tuttle
Fluidity of Projection, 2008
Double-sided screenprint on handmade
paper, with dice-cut and deckle edges in a wall-
mountable frame
15 10 xv 1⁄4 x ii 1⁄viii in. / 38.1 ten 38.7 ten 5.3 cm.
Edition of 30

Robert Motherwell
The Berggruen Series, 1979-eighty
Suite of 4 colour lithographs
16 x 16 1⁄2 in. / 40.half dozen ten 41.9 cm. each
Edition of 100

The Thick Lines Betwixt Here and There

Co-curated past Keith Schweitzer & Owen Houhoulis
October 25 - December 8, 2018

This dual-gallery exhibition brings four of Thailand'due south most admired abstruse painters together for the first time, offering a bold view into the country's burgeoning & reinvigorated gimmicky art scene. At the aforementioned fourth dimension, they are presented aslope a number of gratis artists from Europe and America who approach Abstraction from their own diverse perspectives. In this fashion, the artists participate in a wistful conversation that moves across oceans and through time.

Angkrit Ajchariyasophon is an achieved practitioner of non-objective Thai brainchild, and has also long championed fellow Thai artists in his independent gallery "Artist+Run." His galleries in Bangkok and Chiang Rai have become primal gathering places for highlighting the current intergenerational community of Thai artists. Working from a deep-seated fear "of disappearing," Ajchariyasophon'due south own artwork goes across the aesthetic and engages interaction to foment change. His vertical line paintings are inspired by the walking meditations of local Buddhist monks: through slowly repeated applications he mirrors their attempts to "know all moments." American creative person Sam Francis was deeply influenced by Zen Buddhism, merely combined it with an energetic form of automatism to create dynamic abstract expressionist paintings. His distinct canvases hum and sing with lively strokes and splatters of brilliant color. These dancing gestures are mirrored in the mid-1960s lithographs of Robert Rauschenberg. Devoid of color, they instead represent a bold turning point in his storied career. Having found a enshroud of used New York Times image plates, Rauschenberg combines brushstrokes with ghostly images of the quotidian world.

Thaiwijit Puengkasemsomboon has long been a highly regarded torchbearer of Abstract Expressionism in Thailand. Both a painter and a sculptor, many of his works are created reactively as he listens to improvisational jazz. Robert Motherwell was a prolific American painter, collage-artist and printmaker. He brought a literary influence to his studies of Surrealism and, later, as a founding member of the famed New York Schoolhouse of Abstract Expressionists. His works are often defined by the combination of assuming black gestures with fields of pure colour. Painter Larry Zox was a fellow member of the following Lyrical Abstraction move. Removing gesture and brushstroke, Zox is known for depicting rigid and angular color shapes that were articulated by white line borders. These lines added a sense of construction also every bit a sense of directional momentum to Zox's works.

Mit Jai Inn apprenticed under contemporary artist Franz Westward in Vienna in the belatedly 1980s. He is known for defying conventional boundaries, both physically and conceptually, with artworks that often appear as hybrid objects: paintings that could be sculptures, or sculptures that incorporate painterly methods. Mit Jai Inn's works on display here are an case of this, as they relinquish to viewers control over how they are displayed or arranged. This notion is mirrored in the work of Franz West himself, a visual democrat whose sculptures were meant to be not merely seen just likewise engaged past all viewers. With his "Creativity: Furniture Reversal," the artwork is really created past the viewer, equally information technology is unpacked, arranged and colored with duct tape however a group or private intends. American Richard Tuttle, on the other paw, started as a consummate Minimalist, in terms of both structure and gesture. However, over time his mark / course making has transformed. Originally working with simple touches, like thin musical notes on a page, he has also been known to combine random just busy line work, or to create a whimsical assemblage of found material. Gary Stephan has remained a structuralist. A Postmodernist, Stephan has remained focused on approaching abstract forms in a that way bends them into some new, not quite known, other. These shapes tin can be afflicted, or cropped, or rotated in a way that forces viewers to look beyond their surface.

Somluck Pantiboon, a celebrated Japan-trained Thai master ceramicist, extrapolates his 3D sculptural forms across flat surfaces to produce paintings using dirt pigments. Together with his married woman Tamako, Somluck founded the Doi Din Daeng Pottery Center in Chiang Rai. Here he fuses Japanese and northern Thai techniques into works with a distinctly earthen look. His constant oscillating between abstruse painting and the sculpting of useful objects serves to promote his artistic and teaching belief that "Art must be in harmony with society." This sense of harmony and world tones is reflected in sure works by Robert Mangold. A primary Minimalist painter, here nosotros encounter his "Fragments" series. Using a number of already damaged lithograph stones every bit his starting indicate, Mangold allowed their croaky and jagged edges to define his options. The resulting impressions, in deep browns, greens and yellows, are held together by a serial of both thick black stripes and sparse, linear blackness ellipses. These small black gestures are reflected in Richard Long'southward serial of his own thumb-prints on hemp paper. Every bit a nature-based conceptual creative person, Long is all-time known for documenting his long walks through landscapes. He also collects rock and mud samples, which he later uses to create floor sculptures or large, dripping wall murals. With all of his work, the creative person melds into his surrounds and the materials of the environment.

The Thick Lines Between Here And There is co-curated by Keith Schweitzer and Owen Houhoulis. It is a dual-gallery exhibition taking place in coordination with Brooke Alexander Inc., which has contributed greatly to this global endeavor.

bucklandwommant88.blogspot.com

Source: http://www.owenjamesgallery.com/exhibitions/the-thick-lines-between-here-and-there

Share this post