JEFF ELROD
London: 41 Dover Street3 March – 21 April 2022
Installation Views
Press Release
“Aesthetically I was drawn to vector-based programs, the same way I was drawn to Barnett Newman.”
– Jeff Elrod
Galerie Max Hetzler, London is pleased to announce a solo exhibition of new paintings by Jeff Elrod, presented alongside early works tracing the progression of his practice. This exhibition marks a return to the artist’s drawing-based analogue paintings of the 1990’s.
Jeff Elrod’s work is rooted in the tradition of American twentieth-century abstraction. He is known for his paintings that employ a unique combination of digital and analogue techniques. Early in his career, Elrod developed a method of making what he refers to as “frictionless drawings”: gestural compositions that he creates in the virtual workspace with the use of a computer mouse and basic software. These renderings are then transferred onto canvas using both digital printing and manual techniques. Through this multifaceted process the original drawings are adapted and transformed. Elrod was among the first artists to robustly explore the pairing of digital and conventional painting techniques in order to expand the language of the medium; his working method has evolved in tandem with changes in technology. Throughout his work, Elrod aims to depict a kind of “screen space”, examining the dichotomy between traditional painterly space and the virtual space of the computer.
For Hollis (1998), responds to filmmaker and photographer Hollis Frampton’s Protective Coloration (1984), a series of portraits of the artist wearing T-shirts pertaining to the retina, ranging from a Kodak logo to an eyeball. Anchoring the exhibition, the work reveals the complex ways in which Elrod harnesses painting and digital technology to explore the idea of the retinal. As in much of his early work, Elrod covers the surface in smooth monochromatic colour, recalling both the screen and industrial painting.
These new works simultaneously celebrate and subvert the Impressionist landscape, drawing on the artist’s surroundings, depicting the architecture of the quotidian both micro and macro, as in Turned Around (2009) which shows an avian view from the artist’s studio. Still-Life with Camera (2022), stemming from a drawing Elrod made of his desk twenty years ago with objects now defunct, serves as a sort of memento mori. Through modulated colour, veiled landscapes and still-lifes appear, syphoned through the lens of the screen’s TV eye.
Jeff Elrod (*1966, Dallas, Texas) currently lives and works in Marfa, Texas and Brooklyn, New York. His work has been exhibited in institutions worldwide including Kunstmuseum Bonn (2015); Fondazione Sandretto Re Rebaudengo, Turin (2014); MoMA PS1, New York (2013); Modern Art Museum of Fort Worth (2009); Whitney Museum of American Art, New York and The Palm Beach Institute of Contemporary Art (both 2001). Elrod’s work is included in the collections of the Museum of Modern Art, New York; Whitney Museum of American Art, New York; Centre Pompidou, Paris; Hirshhorn Museum and Sculpture Garden, Washington D.C.; Walker Art Center, Minneapolis; Dallas Museum of Art; Museum of Fine Arts, Houston; The Menil Collection, Houston and the Museum of Contemporary Art, Cleveland among others.
Further exhibitions and events:
2 February – 14 April 2022
Ida Ekblad
Gold Bug Drift Sculpture (Tepito and Ecatepec), Amor, 2019
Window Gallery, Goethestraße 2/3, 10623 Berlin
11 February – 14 April 2022
Hans Josephsohn
Goethestraße 2/3, 10623 Berlin
12 February – 14 April 2022
Ida Ekblad
WE WERE PATIENT
Potsdamer Straße 77–87, 10785 Berlin
3 March – 21 May 2022
Thomas Struth
Bleibtreustraße 45, 10623 Berlin
3 March – 21 May 2022
Thomas Struth
Bleibtreustraße 15/16, 10623 Berlin
April – June 2022
Jeremy Demester
Goethestraße 2/3, 10623 Berlin
April – August 2022
Günther Förg
Potsdamer Straße 77–87, 10785 Berlin
12 March – 16 April 2022
Ernesto Neto
Ultimatum
57, rue du Temple, 75004 Paris
26 April – 1 June 2022
Hans Josephsohn
41 Dover Street, London W1S 4NS
Press contact:
Galerie Max Hetzler
Natalia Fuller
london@maxhetzler.com
London: +44 20 7629 7733
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WeChat ID: MaxHetzler
“在美学上,我被基于矢量的程序所吸引,就像我被巴尼特 · 纽曼吸引一样。”
——杰夫 · 艾洛德
麦克斯 · 赫茨勒画廊伦敦空间很荣幸地推出杰夫 · 艾洛德(Jeff Elrod)的绘画个展,展出艺术家的新绘画作品,以及追溯他创作实践进展的早期画作。这次展览标志着艺术家回归到他1990年代以图画为基础的模拟绘画。
杰夫 · 艾洛德的作品植根于二十世纪美国抽象艺术的传统。他的画作以采用数字和手工技术的独特组合而闻名。在其职业生涯的早期,艾洛德开发了一种被称为“无摩擦绘画”(frictionless drawings)的制图方法:他使用电脑鼠标和基础软件,在虚拟工作空间创造出姿态性构图,再使用数字印刷和手工技术,将这些效果图转移到画布上。通过这个多步骤的复杂过程,原始图像完成了其改编和转化。艾洛德是最早致力于探索将数字和传统绘画技术结合,以扩展绘画媒介之语言的艺术家之一;他的工作方式与技术进步相辅相成。纵观他的作品,我们可以看出艾洛德旨在描绘一种“屏幕空间”,以此审视传统绘画空间和计算机虚拟空间之间的对立。
作品《霍利斯》(Hollis,1998)回应了电影导演和摄影师霍利斯 · 弗兰普顿(Hollis Frampton)的影片《保护色》(Protective Coloration,1984),该片展示了艺术家身着与视网膜有关的——从柯达品牌标志到眼球——T恤的一系列肖像。作为展览主角,这件作品揭示了艾洛德利用绘画和数字技术探索“视网膜”这一概念的复杂方式。就像他早期的许多作品一样,艾洛德将光滑的单色铺展在作品表面,让人想到屏幕绘画和工业制图。
此次展出的新作品赞美和颠覆了印象派的风景写生,它们取材于艺术家身边的环境,描绘了微观和宏观的日常建筑,如作品《回身》(Turned Around,2009),展示了从艺术家工作室里看到的鸟类景观。《静物与相机》(Still-Life with Camera,2022)源自艾洛德20年前画的一幅他工作桌的画作,其中的物件已经不在,继而变成了一种死亡的象征。通过调和色彩,艺术家屏幕上的电视眼镜头提取出的隐秘的风景和静物显现出来。
杰夫 · 艾洛德(1966年出生于德州达拉斯)目前在德州马尔法和纽约布鲁克林生活和工作。他的作品被世界各地的艺术机构广泛展出,其中包括:波恩艺术博物馆(2015);桑德雷托 · 瑞 · 瑞宝迪戈基金会,都灵(2014);纽约现代艺术博物馆PS1馆(2013);沃斯堡现代艺术博物馆(2009);惠特尼美国艺术博物馆,纽约和棕榈滩当代艺术博物馆(2001)。艾洛德的作品被永久收藏于:纽约现代艺术博物馆;惠特尼美国艺术博物馆,纽约;蓬皮杜艺术中心,巴黎;赫希洪博物馆和雕塑园,华盛顿特区;沃克艺术中心,明尼阿波利斯;达拉斯艺术博物馆;休斯顿美术馆;梅尼尔收藏博物馆,休斯顿;克利夫兰当代艺术博物馆等。