The 'November 1-December 21' exhibition, which takes its name from duration of the show, puts the work of artists Liam Gillick and Louise Kaplan side-by-side at Casey Kaplan Gallery in New York.
New York-based contemporary art stalwarts Liam Gillick and Louise Lawler have pooled their creative talents for a new show in Chelsea. Titled 'November 1-December 21' - referencing the length of the exhibition - the installation at Casey Kaplan gallery displays their work side-by-side.
'Each of us sets the scene,' says Gillick. 'The resulting exhibition layers our works onto the gallery rather than simply placing them within it.'
Gillick has created a large-scale installation of hanging text suspended from the gallery's ceiling, while Lawler's photographs surround the space. Lawler, who is known for her critique of the display and documentation of art, has selected two of her photographs - one of the negative space between works by Carl Andre, Richard Serra and Gerhard Richter displayed in a gallery, and another of Edgar Degas' 14-year old ballet dancer, Marie Geneviéve van Goethem - and stretched them along the walls of the space. The new site-specific pieces are distorted into unrecognisable streaks of colour that encircle the gallery.
In contrast, Gillick's hanging installation, 'Övningskörning (Driving Practice Parts 1-30)' - first shown at the Milwaukee Art Museum in 2004 and now presented at Casey Kaplan in a more compressed, easier to read fashion - is a clear, unabashed statement that hangs above visitors' heads. The text describes a scenario written by Gillick in response to a site visit to Kalmar, Sweden, where Volvo first instituted its socialistic approach to auto-manufacturing. Using aluminium letters, Gillick outlines how auto-production could be controlled after the organised systems have broken down.
Despite being completely loyal to each artist's style, both works not only comment on the power of abstraction, but also the framework of art itself. Like its title suggests, this rare visual dialogue is on view for a limited time only, so get in while it lasts.
Gillick has created a large-scale installation of hanging text suspended from the gallery's ceiling, while Lawler's photographs surround the space
'Each of us sets the scene,' explains Gillick. 'The resulting exhibition layers our works onto the gallery rather than simply placing them within it'
Lawler's image of the negative space between works by Carl Andre, Richard Serra and Gerharrd Richter installed in a gallery
Lawler, who is known for her critique of the display and documentation of art, has selected two of her photographs and stretched them along the gallery walls. The new site-specific pieces are distorted into unrecognisable streaks of colour that encircle the gallery
In Gillick's hanging installation, Övningskörning (Driving Practice Parts 1-30), the text describes a scenario written by Gillick in response to a site visit to Kalmar, Sweden, where Volvo first instituted its socialistic approach to auto-manufacturing
Using aluminium letters, clear, unabashed statements hang above visitors' heads. Gillick outlines how auto-production could be controlled after the organised systems have broken down
Lawler's image of Edgar Degas' 14-year old ballet dancer, Marie Geneviéve van Goethem
ADDRESS
Casey Kaplan
525 West 21st Street
New York, NY
-
Six brilliant bars for your 2025 celebrations, hot off the Wallpaper* travel deskWallpaper’s most-read bar reviews of the year can't be wrong: here’s inspiration for your festive and new year plans, from a swanky Las Vegas lounge to a minimalist London drinking den
-
Misfires and Monstrosities: three vehicular design disasters that show taste is in retreatFrom a multi-million dollar piece merchandise to a wretched Rolls-Royce, these are the low points of the year in transportation design
-
Thirty years after Dog Man Star, Brett Anderson looks back on Suede's album coversBrett Anderson talks cover art, photography and iconic imagery
-
Inside Luna Luna: the amusement park designed by artists lands in New York‘Luna Luna: Forgotten Fantasy’ – featuring rides by Basquiat, Lichtenstein, Hockney, Haring, and Dalí – has opened at The Shed
-
Henni Alftan’s paintings frame everyday moments in cinematic renditionsConcurrent exhibitions in New York and Shanghai celebrate the mesmerising mystery in Henni Alftan’s paintings
-
Brutalism in film: the beautiful house that forms the backdrop to The Room Next DoorThe Room Next Door's production designer discusses mood-boarding and scene-setting for a moving film about friendship, fragility and the final curtain
-
'There’s an anxiety under all of it': Violet Dennison in New YorkViolet Dennison debuts abstract paintings with new show 'Damaged Self' at Tara Downs Gallery
-
‘Gas Tank City’, a new monograph by Andrew Holmes, is a photorealist eye on the American West‘Gas Tank City’ chronicles the artist’s journey across truck-stop America, creating meticulous drawings of fleeting moments
-
Mark Armijo McKnight’s bodily landscapes capture the tactile serenity of the American WestThe artist’s new exhibition at the Whitney Museum, which is organised by the museum curator Drew Sawyer, offers a succinct window into his contemplative suggestion of queering a landscape
-
Dark, glamorous and hedonistic: a photography book captures New York in the 1990sNew York: High Life, Low Life, by Dafydd Jones, goes behind the scenes of New York society
-
Derrick Alexis Coard’s portraits are a sensitive, positive testimony to Black menThe late artist Derrick Alexis Coard’s retrospective ‘I Am That I Am’, at New York’s Salon 94, honours his ‘symbolic expression for possible change for the African-American male community’
