Kevin Zucker
dal 9/5/2001 al 9/6/2001
Segnalato da
9/5/2001
Kevin Zucker
LFL Gallery, New York
LFL Gallery is pleased to present the first solo exhibition of Kevin Zucker’s paintings. Since cavemen first squabbled over shadows, people have been preoccupied with ideals, with abstractions and generalizations. It often seems that for every thing present in our physical world- for every single situation, piece of furniture, backdrop for interaction- there exists a corresponding technical drawing, a plan, logged and captured somewhere, Saved As. ...
LFL Gallery is pleased to present the first solo
exhibition of Kevin Zucker’s paintings.
Since cavemen first squabbled over shadows, people
have been preoccupied with ideals, with abstractions
and
generalizations. It often seems that for every thing
present in our physical world- for every single
situation, piece of furniture, backdrop for
interaction- there exists a corresponding technical
drawing, a plan, logged and captured somewhere, Saved
As.
Amidst all the talk about the ability of these maps
to get things uncannily right and to insinuate
themselves into reality, what’s often glossed over are
the distortions and degradations that happen in the
process of translating increasingly particular things
into ideas/ images, then back into objects and over
again. There’s a lot of static in these processes,
interference, and lots of details get, if not always
lost, then skewed, even in our very highest-res
translations.
There’s something about the fact of all these
tweaked archetypes out there imposing themselves on
physical reality that has a serious impact on our
emotional lives, inner and interpersonal, and the
effect runs somewhere along the lines that we’re
increasingly able to relate only in terms of
conventions for representing emotions.
Or: is there a similarity between perspective
drawing (blatant convention of representation,
complete with
limitations, but appeals totally to the lowest common
denominator of legibility) and a laugh track (L.C.D.
of legibility as regards an emotional state)?
This is nothing entirely new, is part of a process,
and is not even necessarily bad. What we’ve got right
now happens to be very, very funny; very, very sad,
and very boring; alternately, all at once.
People who can remember Pong relate themselves to
digital representation in some interesting ways. Old
enough to be able to trace the whole history of that
set of conventions, and so therefore maybe not so
perfectly accepting, but young enough to be able to
relate to the spaces in Tomb Raider in a serious,
unselfconscious way; to be able to project ourselves;
overlook the technology enough of the time.
So: what’s it like when our mirror-world of
generalities and archetypes becomes literally
encyclopedic? Do the representations continue to
suffer some measure of human distortion, though
repressed to whatever extent possible by the tools at
the draftsman’s disposal? Do they bear the marks of
repeated idea-image-object translations? How clear
are the limitations of those tools in describing the
expressive potential of everyday spaces and
situations? What if there was an ideal twelve-step
meeting, or Princess bedroom set?
Located in Chelsea (NYC), LFL Gallery features
monthly exhibitions of emerging and mid-career
artists.
In
addition to its exhibition program, LFL has an
extensive flat file inventory of over 100 artists with
works on paper that can be explored by visitors to the
gallery.
Reception Thursday 5/10/01, 6-8 pm
Hours: Tuesday - Saturday 11-6
LFL Gallery
531 West 26th Street, 4th Floor
New York, NY 10001
t: (212) 631-7700
f: (212) 631-7705