Marianne Mueller style of photographic image making embraces a wide range of subject: from ephemeral chronicles of her own body and habitation; languid, erotic shots of intertwined nudes; to the banal beauty of peripheral details in the outside world. In the project room: Penelope Gottlieb.
Kim Light/LightBox is pleased to present DREAM-US-09, the first American
solo exhibition by Swiss artist Marianne Mueller. Her distinctive style of
photographic image making embraces a wide range of subjects--from
ephemeral chronicles of her own body and habitation; languid, erotic shots of
intertwined nudes; to the banal beauty of peripheral details in the outside
world. In DREAM-US-09, her photographic prints are hung in purposefully
composed groups, encouraging multivalent connections among works--
relationships that are alternately formal, symbolic, and whose sequence
ultimately accumulates its own form of reasoning.
Whether the subject of the camera's lens is rumpled bed sheets or an
ordinary truck tire; a shadowy thigh or an excavated gravestone; Mueller's
approach is distinct.
Repeated throughout her images, there is a
characteristic treatment of light and a strategic organization of masses; a
perplexing framing and cropping of her subjects to heighten activity in the viewers eye and mind. To that
end, black-and-white is typically favored over color and limbs play a larger role than faces in Mueller's
regard for the human figure; which is inspected piece by piece, angle by angle.
Though Mueller's reservoir of images includes the most interior and intimate passages, the camera's eye
treats them with no more or less fascination than the most everyday features of a cityscape. This marriage
of intimacy and studied detachment gives a crystalline clarity to the artist's examination of the figure:
drawing visceral, fleeting characters formed outside the boundaries of any traditional narrative. Her nudes,
in their stark reality, offer not a voyeuristic experience of lives lived; but an event of the camera whose
interests and sequences remain mysterious, ornamental, and subject to reversal and reconstitution.
Born in Zurich, Marianne Mueller lives and works in London and teaches at Zurich University of the Arts,
Department of Art & Media. Her work has been exhibited internationally in solo shows with: Galerie
Susanna Kulli, Zürich; Arndt & Partner, Berlin; Attitudes, Geneva; Center for Visual Art (CAV), Coimbra;
Mario Sequeira Gallery, Braga; and in group shows at: Museum of Contemporary Art, Santiago;
Neuchâtel Center for Art, Neuchâtel; Winterthur Fotomuseum, Winterthur; Museum of Fine Arts, Houston;
and the Migros Museum for Contemporary Art, Zurich. Public collections include: Kunsthaus Zürich; UBS
Art collection; Center for Visual Art (CAV), Coimbra; Fotomuseum Winterthur; and Foundation for Art
Today, Kunstmuseum Bern.
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Kim Light/LightBox is pleased to present NO $ DOWN, an
exhibition of drawings on paper by Penelope Gottlieb. For
nearly a decade, Gottlieb has been producing a series of
works addressing the archetypal American dream of home
ownership, examining the roles of houses as status
symbols, markers of class identity, and focal points of
desire. In NO $ DOWN, her colored-pencil drawings
catalogue frontal views of Southern California's domestic
architecture. The storybook house, the track home, the
bungalow, and numerous other familiar faces are indexed
in Gottlieb's artistic response to the complex and evolving
narrative of real estate in America
To create these encoded and layered variations on the real estate marketing theme, Gottlieb scours
newspaper ads in the Los Angeles Times, seizing on the minute photographs of houses published there,
with their uniform camera angles and hyperbolic advertising phrases (“Exceptional Feng Shui!,” “Shangri-
La Personified!”). In these advertisements, Gottlieb sees a variation of forms on the same meaning,
revealing a system of relationships; a syntax. Selecting houses from these advertisements as sources
images, the artist creates finely detailed monochromatic drawings, with an atmospheric, dream-like
density. These drawings are then matched with vintage frames Gottlieb considers “fixer-uppers,” which
she then elaborately “refurbishes” and paints to match the correlating drawing.
Intensified by larger transformations in the contemporary perception of home ownership, NO $ DOWN
reflects on a subject at once firmly planted in our collective unconscious, and yet proven more fragile now
than we ever imagined.
Penelope Gottlieb was born in Los Angeles and grew up next to the infamous housing development, Mt.
Olympus. She received her BFA from Art Center College of Design and her MFA from UC Santa Barbara.
Her work has been exhibited in numerous venues including the Krannert Art Museum, Otis Ben Maltz
Gallery, Michael Kohn Gallery, Contemporary Arts Forum Santa Barbara and the Nathan Larramendy
Gallery. Public collections include the Los Angeles County Museum of Art, 21c Museum, the Drawing
Center New York, the Chicago Art Institute and numerous corporate collections including the Fannie Mae
Corporation.
Reception, Saturday, January 24, 6 – 8 pm
Kim Light/ LightBox
2656 S. La Cienega blvd - Los Angeles
Free admission