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28/2/2007

Two exhibitions

Haines Gallery, San Francisco

Max Cole
Paintings from the Autumn...

Haines Gallery is pleased to announce a new exhibition of paintings by Max Cole. The paintings in the exhibition vary from small to mid-size, exclusively utilizing her choice palette of black, white and subtle shades of grey. Cole’s formal vocabulary, refined over a period of more than three decades, embodies an attempt to reduce painting to its bare essentials. Cole’s insistent horizontal stripes, the most immediately striking element of her work, refer not only to landscape - that most stabilizing component of human perceptual experience - but also the wave forms which we associate with the transmission of energy. In her paintings, Cole perseveres to create a close knit series of works that although evoking the same feeling, each retains an individual personality. Using rational thought as well as intuition, she ritualistically manifests horizontal configurations comprised of miniscule vertical, hatch mark gestures. These “banded paintings” give a sense of expanding space, their horizontals opening beyond the confines of the canvas. The internal space becomes more introverted, with each mark recording the intense focus required to create each gesticulation. The linear configurations interact with light to create visual vibrations and irregularities.

Born in Kansas in 1937, Cole began exhibiting her work in the early 1960s. Her work is represented in such prestigious collections as the Metropolitan Museum of Art, New York; Los Angeles County Museum of Art, California; Dallas Museum of Art, Texas; the Panza di Biumo Collection, Varese, Italy; and the Museums of Moderner Kunst in Otterndorf, Wuppertal, Ingolstadt, Cologne, and Munich, Germany. Cole has also received several prestigious grants and fellowships, including the Visual Artist’s Fellowship and a grant from the National Endowment for the Arts. In 2005, Cole was an Artist in Residence at the Albers Foundation in Bethany, Connecticut.Haines Galley has produced a catalogue on the occasion of this exhibition. The catalogue includes an interview with Max Cole by Maddalena Magni, Laura Mattioli Rossi and Emanuela Poletti. Translation and transcription by Ludovica Pellegatta.

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Candace Gaudiani
Forty Eight States

The fourth in our new series of exhibitions promoting emerging artists features Bay Area photographer Candace Plummer Gaudiani. On view will be a new body of work entitled, Forty Eight States, depicting the American landscape through the frame of a train window. These images invite the viewer to remember distant memories of travel, place and experience. The photographs are shot with the most distant forms in focus leaving the foregrounds vividly blurry. Gaudiani photographs these images with her Leica camera while balancing herself in a train car traveling at 100 miles per hour. The negatives are scanned, without cropping, and reproduced using a digital print technique onto a black card approx. 4 x 5 inches. The resulting object recalls the early carte de visite or a set of traveling playing cards. But upon closer inspection these miniature landscapes reveal a church steeple, a vast lake, or a small village behind blurry foregrounds. The cards are presented in a sleek archival clamshell box. For this exhibition, however, they will be displayed individually on a rail that will wrap around the gallery. In addition, the complete series is also available as individual larger prints (20 x 13 inches) with an example on view in the exhibition.

Previous bodies of work by Gaudiani have focused on portraiture which she sees as central to her work, alongside her interest in space and time, where the absence, presence, or ambiguity of people take on significance. Two previous series - Do I Measure Up?... and Conversations explore different approaches to portraiture. In the first, she tested her ability to capture the spirit of individuals she did not know within the context of their edgy, closed society of bodybuilders. In the second, with people whom she did know, she aimed to create the most fully realized portrait possible through the use of multiple images, out of context and ranging from the ugly to the beautiful. Gaudiani’s photographs have been acquired by a number of significant collections including the Museum of Fine Art, Houston, the San Francisco Museum of Modern Art, George Eastman House, Rochester, New York and the Harry Ransom Center for the Humanities at the University of Texas at Austin.

Image: Max Cole

Haines Galley
49 Geary Street - San Francisco
Free admission

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