Every work in Hoeber’s 2011 series Execution Changes is titled in alphanumeric code. The geometric pattern that composes each acrylic-on-panel painting is determined by a preordained ratio of 2 to 3. But even though a formulaic system determines the image’s structure, its surface is full of painterly effects. While the minimalist appearance of these works references similarly striped paintings by Frank Stella, Hoeber does not emphasize the painting’s underlying structure but instead tugs it apart and obscures it. Layers of paint betray the image not as surface-and-support, but as presence with depth.
Using a variety of media, the Los Angeles–based artist Julian Hoeber produces fastidiously ordered compositions. His paintings, constructions, and installations emphasize concept and materiality even-handedly, resulting in works evocative of both intangible theory and concrete spatial relationships. His immersive environment Demon Hill (2010-2011) used gravity as its primary tool, while undermining everything certain about it; inside the space, the most predictable force on Earth operated at an unexpected and deeply disorienting angle. Uncommon sensation is a thread that runs through much of Hoeber’s work. The otherworldly springs from the readily available, unusually arranged. His paintings are situated somewhere between Modernism’s emphasis on the physical reality of the painting, Postmodernism’s fraying of that reality, and Op art’s insistence on playing perceptual tricks.
Shot in the streets of Tokyo, Collapse , is a meditation on the passing of time and on the complicated way in which we are smashed between the past and the future...
MUM , the acronym used to title a series of Rogan’s small interventions on found magazines, stands for “Magic Unity Might,” the name of a vintage trade magic publication...
Composed of four images, the series Sleeping Elephant in the Axis of Yogyakarta (2011) explores the artist’s observation of how Javanese mythology and cosmology have marked the geography of Yogyakarta, the cultural centre of Indonesia...
With Roca Carbón (Charcoal Rock, 2012) and Roca Grafito ( Graphite Rock , 2012), López plays with our relationship to inert and unremarkable objects such as rocks...
In Dilemma: Three Way Fork in the Road , Wang references Peking opera in a re-interpretation of traditional text...
In the six-minute single-channel video Higher Horse , Kate Gilmore perches herself on top of a tall pile of plaster blocks, in front of a pink colored wall with vein-like streaks of red...
Apartment on Cardboard (2000) is an exterior view of an abstracted apartment building...
Reeder’s works often start with language—and his Pasta Paintings are no different...
Telescopic Pole is an adjustable telescopic pole that extends vertically from floor to ceiling and is held up by its own internal pressure...
Gabriel Kuri has created a series of works in which he juxtaposes perennial and ephemeral materials...
Chris Johanson’s Untitled (Painting of a Man Leaving in Boat) (2010) pictures a canoe drifting toward an off-kilter horizon line, which demarcates the cobalt sea from the cerulean sky...
Ammo Bunker (2009) is a multipart installation that includes large-scale wall prints and an architectural model...
With Roca Carbon ( Charcoal Rock , 2012) and Roca Grafito ( Graphite Rock , 2012), López plays with our relationship to inert and unremarkable objects such as rocks...
Towhead n’Ganga, enclosed in darkness, lorded over by the sexualized folded high priestless form reflects many of Kelley’s works, in both its compositional and semantic qualities...