Booth C4 : BORTOLAMI
Bortolami presents recent works by Nicolás Guagnini, Madeline Hollander, Ivan Morley and Rebecca Morris.
See a walk through video of the booth.
Rebecca Morris' paintings include organic shapes separated by jagged borders, a constellation of pigments which recall maps or aerial landscapes. Oils are thinned to the point of watercolor and judiciously applied from above. Morris positions her large canvases face up on the floor so that the thin paints do not drip right off the surface. These matte grounds are often contrasted with thin lines or wide swaths of thick oils which are masked off and spray painted silver or gold. The outcome looks like soldered metal, a feature that Morris likens to tig welding or, in an art context, the signature on an Alexander Calder mobile.
Rebecca Morris (b.1969) has been the subject of significant solo exhibitions at the Blaffer Art Museum, Houston (2019) and Bonnefanten Museum, Maastricht, Holland (2014) as well as presentations at Made in L.A., Hammer Museum, Los Angeles (2016), the Whitney Biennial, Whitney Museum of American Art, New York (2014) and The Renaissance Society (2005). Her next museum exhibition will be a solo show at the Institute of Contemporary Art Los Angeles. Other solo shows include those at 356 Mission Rd., Los Angeles and LAXART, Los Angeles.
Painter to Painter: Mary Weatherford / Rebecca Morris
Mary Weatherford asks Rebecca Morris about how her use of color has changed and Morris' spring 2020 exhibition at Bortolami Gallery, New York.
Ivan Morley’s newest embroidered "painting" depicts colorful, cacophonous abstraction in a surface rendered entirely in colored thread. The composition emulates the immediacy of gestural painting and all of its drips, blends and haphazard marks but is produced entirely through carefully sewn swaths of color.
Throughout his career, Morley has successfully translated the language of painting to other materially decadent mediums. His technical mastery extends past embroidery to other traditional crafts such as glass painting and tooled leather. Morley often incorporates California and Los Angeles history as subject matter and muse. Anecdotes, tall tales and art history, such as Philip Guston and Jackson Pollock’s respective interests in Mexican muralism, have inspired the iconography and aesthetic of recent work.
Ivan Morley’s work has been shown at LAMoCA, the Museum Abteiberg in Mönchengladbach, Germany, and the Kunstsammlung Nordheim-Westfalen in Düsseldorf. Morley attended the School of the Art Institute of Chicago and the Art Center College of Design in Pasadena.
Painter to Painter: Mark Grotjahn / Ivan Morley
Mark Grotjahn asks Ivan Morley about his process in a short video filmed during their respective quarantines in Los Angeles in May, 2020.
Madeline Hollander is an artist known for her work in choreography, performance , dance and installation. The artist’s meticulous watercolors function as notations and studies for Hollander’s dynamic projects. Some drawings feature movement sequences and Hollander’s choreographic notation, while others illustrate research and field work for gallery and museum exhibitions.
Madeline Hollander (b. 1986, Los Angeles) has had solo exhibitions at Artists Institute, New York (2018); Bosse and Baum, London, UK; and SIGNAL, Brooklyn, NY (2016). Her work has been featured in the Whitney Biennial curated by Rujeko Hockley and Jane Panetta (2019), Helsinki Contemporary, Finland (2019), the Work Marathon Festival at the Serpentine Galleries in London (2018), and Centre Pompidou Metz, France (2019). As a choreographer, Hollander has collaborated with Jordan Peele on his feature film Us (2019) and Urs Fisher’s immersive installation PLAY at Gagosian, New York (2019) and Jeffrey Deitch, Los Angeles, CA (2019). She recently choreographed a new ballet, 5 Live Calibrations, for Los Angeles Dance Project in Los Angeles, that premiered at the Theatre Champs-Elysees, Paris, and the Louvre, Abu Dhabi. She has previously worked as a corps de ballet dancer at the Barcelona Ballet, Spain and Los Angeles Ballet, CA.
Madeline Hollander's drawings
Madeline Hollander discusses her drawing practice as it relates to her choreography and installations. The artist’s meticulous watercolors function as notations and studies for Hollander’s dynamic projects. Some drawings feature movement sequences and Hollander’s choreographic notation, while others illustrate research and field work for large scale installations.
“Anything that moves, I will draw inspiration from and then kind of map that in the studio either into diagrams and notations and my own scoring system”
Nicolás Guagnini's new drawings, made at home during his own quarantine in spring 2020, are meditations on the global COVID-19 pandemic and the various permutations of how the virus affects the body. His subjects, rendered in profile in a circuitious, coiled line, depict the heads of persons who are positive for coronavirus – whether asymptomatic or afflicted by cough or fever. Each human form is surrounded by complex color gradations rendered in color pencil.
Nicolás Guagnini (b. in 1966 in Buenos Aires, Argentina) has exhibited throughout the United States, Europe and South America. He recently exhibited his work in a solo exhibition at The Tarble Art Center in Charleston, IL. His collaborative entity Union Gaucha Productions showed at Artists Space in New York in 2015. He was also a founding member of Orchard, the seminal artist-run gallery located on Orchard Street in the Lower East Side from 2005-2008. Guagnini recently authored the essay “White Male/Black Balls” in the catalog Bruce Nauman: Disappearing Acts for the Museum of Modern Art, New York.
Nicolás Guagnini, The Covid Drawings
Nicolás Guagnini’s new drawings, made at home during self-isolation in spring 2020, are deeply personal meditations on the global COVID-19 pandemic. Verging on automatic, Guagnini sees these drawings as something that “came out of [him],” as if compelled by an alien organism stored within the self. The images incorporate his longtime interests in the grotesque and ornamental, and he describes them as “scientific illustrations on acid.” Allowing his hand to go in one direction and his mind to float freely, the forms that emerged are arabesque profiles surrounded by complex color gradations and defined with subtle line.