The exhibition brings together a selection of Ryan Taber’s recent drawings and sculptures drawn from interrelated research projects. Graham Hudson will install a site-specific work for this exhibition, constructed within the gallery in the week prior to the opening.
Mark Moore Gallery is pleased to announce A Rhetoric of Ills: The Oekologie of Ornament in the Causatum of Stillness, Ryan Taber’s second solo exhibition at the gallery. The exhibition brings together a selection of Taber’s recent drawings and sculptures drawn from interrelated research projects.
In Taber’s Light Screen series, graphite and watercolor render neglected Frank Lloyd Wright windows that once mediated his patrons’ views of the world outside of his enclave. Appropriating illustrations of marine life by the nineteenth century Natural Philosopher, Ernst Haeckel, Taber’s broken pains become host to a series of miraculous vandals, various species of Haeckel’s Hydrozoa.
Somewhere Outside Phoenix; Guimard’s Annexation of Antonioni’s Mirage, is the most ambitious sculptural work in the exhibition. For this piece, Taber reconstructs a scale model of a small section of a landscape from a still extracted from Michelangelo Antonioni’s Zabriskie Point. The scene reflects the perspective of one of the films’ protagonist’s as she gazes toward a hillside residence designed by a student of Frank Lloyd Wright and imagines the structure exploding across the Arizona horizon. In the work, the desert flora of the scene bear the evidence of the mirage’s affect, only the blast debris is from an earlier architectural form, Hector Guimard’s Metro entrance adjacent to the Louvre. This spacio/temporal rift alludes to the cycles of political agency associated with periods of romantic idealism while considering the consequences of the stylization of their record.
Mark Moore Gallery is pleased to announce new work by Graham Hudson.
Scouring both the contemporary and historical world for source material for his work, Hudson’s sculptures reflect concern regarding the relationship between humanity and the current state of material excess in the modern world. Finding sources of inspiration and materials in his surroundings, from discarded furniture to plastic and debris, Hudson takes the useless item, the appropriated image and the found object and turns what have been formally classified as the neglected and unwanted into lighted, sculptural monuments. Inspired by the readymades of Duchamp, the evolution of appropriation art and Pop art, Hudson embraces video, text, installation and sculpture to comment on the use and function of art in the modern world, reflecting on the intellectual theories of McLuhan, Greenberg and Marx in the process.
Hudson will install a site-specific work for this exhibition, constructed within the gallery in the week prior to the opening. With references ranging from religion to contemporary advertising, and concerns ranging from both the moral and ethical to aesthetic and the mundane, Hudson will examine the relationship between humanity and the current state of material excess, using the context of the gallery as a means of communication.
A graduate of the Royal College of Art in London in 2002, Hudson is currently the Henry Moore Fellow at Chelsea College of Art and Design, Millbank England. Exhibiting widely throughout Europe, exhibitions include a solo show at Rokeby gallery in London in 2005, as well as participation in the following group exhibitions: Larry’s Cocktails, Gagosian (Heddon St.), London, Acid Rain, Glassbox, Paris, Brit Povera, Galerie Krinzinger Vienna, Zombie, Galerie Patricia Ferdinand-Ude, Gelsenkirchen, Germany, Bootleg, Spitalfields, London, and Becks Future’s Student Film and Video Festival, ICA London.
Image: Ryan Taber
Mark Moore Gallery
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