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beta pictoris gallery    Hall 9    Stand 9E15

 

Willie Cole and Travis Somerville

 

Willie Cole (americano, nacido en 1955) es conocido por emplear objetos domésticos cargadas con su propia historia cultural. Repite las marcas de los objetos cotidianos que sostienen la energía espiritual de quienes los manejan. Cole se refiere a su práctica como "ingeniería de percepción ". Estos múltiplos suplente para un momento más desagradable de la historia en una mercancía más común era la vida humana. Como tales identidades de los objetos difuminan y su significado se transforman.

La obra de Willie Cole se encuentra en numerosas colecciones y museos privados y públicos, entre ellos el Museo de Arte Moderno MoMA NY, el Museo Whitney de Arte Americano y el Museo Metropolitano de Arte, Nueva York; el Museo de Arte de Birmingham, Birmingham, AL; el High Museum de Atlanta, GA; la Galería de Arte Albright -Knox, Buffalo, Nueva York; el Museo de Arte Contemporáneo de Chicago, IL; el Walker Art Center de Minneapolis, MN; la National Gallery of Art de Washington, D.C.; el Museo de Arte de Dallas en Dallas, TX; la Galería de Arte de la Universidad de Yale en New Haven, CT; el Museo de Arte de Filadelfia, en Filadelfia, PA; el Museo de Arte Norton en West Palm Beach, FL; y el Museo de Arte de San Luis, en Saint Louis.

Muy recurrente objeto simbólico y artístico de Cole que fue traído inicialmente a la atención del mundo del arte en la década de 1980 ha sido la plancha de vapor. Su enfoque único de imprimir las marcas de la plancha de vapor en una variedad de medios de comunicación en un resultado potencial decorativo de gran alcance de sus “scorchings”, a ser visto como una referencia a su herencia afroamericana. A través del uso repetitivo de objetos individuales en múltiplos, Cole de esculturas, de los cuales varios ejemplo importante estará en exhibición en ARCO Madrid, adquirir una superación y renovado sentido metafórico, y convertirse en una crítica de nuestra cultura de consumo reunidos. El trabajo de Cole combina referencias y apropiación que van desde imágenes afroamericanos y africanos, a readymades de Dada y objetos transformados del Surrealismo.

 

Travis Somerville (americano, nacido en 1963) ha llamado la atención crítica en numerosas publicaciones, incluyendo The Washington Post, Art in America , FlashArt y El diario Los Angeles Times.

Su obra está presente en numerosas colecciones de los museos, incluyendo SF MoMA; el Museo de Arte Contemporáneo de San Diego, San Diego, CA; el Museo de Arte de Birmingham, Birmingham, AL; el Museo 21c en Louisville, KY; el Museo de Arte Laguna en Laguna Beach, CA; el Museo de Arte de San José, San José, CA; y el Walker Art Center de Minneapolis, Minnesota.

El trabajo de las funciones Travis Somerville como un arte de lucha contra la nostalgia y la memoria crítica, y la obra del artista presentado en ARCO Madrid exhibe insistencia aguda y creativa de Somerville en cómo las imágenes y los objetos materiales son reliquias nunca meramente inanimados de un pasado muy alejado de nuestros regalos o nuestro futuro. Somerville nos obliga a reconsiderar y repudiar la medida estándar de la historia de la supremacía blanca y el racismo de Estados Unidos como una narración progresiva que aparentemente ha terminado con una nota utópica de post-carrera.
El trabajo se muestra en ARCO Madrid demuestra un scripting de la historia americana que renuncia a este cumplimiento de un deseo progresivo, una retórica de la esperanza no culpable. En lugar de ello , el trabajo de Somerville entremezcla referencias visuales y verbales a la semiótica de la Guerra Civil, la Reconstrucción, Jim Crow, el Movimiento de los Derechos Civiles, y la era de Obama.



Willie Cole's work is found in numerous private and public collections and Museums, including the Museum of Modern Art, the Whitney Museum of American Art and the Metropolitan Museum of Art, New York; the Birmingham Museum of Art, Birmingham, AL; the High Museum, Atlanta, GA; the Albright-Knox Art Gallery, Buffalo, NY; the Museum of Contemporary Art in Chicago, IL; the Walker Art Center in Minneapolis, MN; the National Gallery of Art in Washington, D.C.; the Dallas Museum of Art in Dallas, TX; the Yale University Art Gallery in New Haven, CT; the Philadelphia Museum of Art in Philadelphia, PA; the Cleveland Museum of Art, and the Columbus Museum in Ohio; the Virginia Museum of Fine Arts in Richmond, VA; the Columbia Museum of Art in Columbia, SC; the Detroit Institute of Arts in Detroit, MI; the Montclair Art Museum, and the Newark Museum of Art in NJ; the Orlando Museum of Art in Orlando, and the Norton Museum of Art in West Palm Beach, FL; and the Saint Louis Art Museum in Saint Louis, MO among others.

Willie Cole (American, born 1955) is known for employing domestic objects charged with his own cultural history. He repeats the markings of everyday objects that hold the spiritual energy of those who handle them. Cole refers to his practice as “perceptual engineering”. These multiples stand-in for a most unsavory moment in history when another common commodity was human life. As such the objects’ identities blur and their meaning transform.

Cole's widely recurring symbolic and artistic object that was initially brought to the attention of the art world in the 1980s has been the steam iron. His unique approach of imprinting the steam iron's marks on a variety of media result in a wide-ranging decorative potential of his scorchings, to be viewed as a reference to his African American heritage. Through the repetitive use of single objects in multiples, Cole's assembled sculptures, of which several important example will be on display at ARCO Madrid, acquire a transcending and renewed metaphorical meaning, and become a critique of our consumer culture. Cole's work combines references and appropriation ranging from African and African American imagery, to Dada's readymades and Surrealism's transformed objects.

 

Travis Somerville (American, born 1963) has garnered critical attention in numerous publications including The Washington Post, Art in America, FlashArt and The Los Angeles Times.

His work is included in numerous Museum collections, including SF MoMA; the Museum of Contemporary Art San Diego, San Diego, CA; the Birmingham Museum of Art, Birmingham, AL; the 21c Museum in Louisville, KY; the Laguna Art Museum in Laguna Beach, CA; the San Jose Museum of Art, San Jose, CA; and the Walker Art Center in Minneapolis, Minnesota.

The work of Travis Somerville functions as a craft of anti-nostalgia and critical memory, and the artist’s work presented at ARCO Madrid showcases Somerville’s sharp and creative insistence on how images and material objects are never merely inanimate relics of a past far removed from our presents or our futures. Somerville compels us to reconsider and repudiate the standard measure of America’s history of white supremacy and racism as a progressive narrative that has seemingly ended on an utopian note of post-race. The work shown at ARCO Madrid demonstrates a scripting of American history that forgoes this progressive wish fulfillment, a rhetoric of non-culpable hope. Instead, Somerville’s work intermingles visual and verbal references to the semiotics of the Civil War, Reconstruction, Jim Crow, the Civil Rights Movement, and the Age of Obama.
As Somerville himself points out that his work complicates the sense of a collective memory about how race has shaped the political, historical, cultural, and social contours of America: “As I attempt to navigate the terrain between autobiography, history, and art, all sorts of collisions take place. It is these interesting moments and the inconsistencies that inform them that I try to capture in my work.” Through the restaging of old advertisements and newspapers, vintage money bags and cotton sacks, and the poignant juxtaposition of his drawing and painting against found photos, Somerville brilliantly entices the viewer to marvel over the aesthetic power of American culture’s everyday brutality and myopia.

 

 

Willie Cole    The Worrier   #2/5


2014, Bronze, limited edition of 5, each in a different finish/patina
ca. 96 by 38 by by 51 cm (37.75 by 14.75 by 20.25 in.)

 

 

 

Willie Cole    MBF (Man’s Best Friend)  IV


 2014, shoes, metal wire,
 ca. 43 by 38 by 56 cm (17 H by 15 by 22 in.)

 

 

 

Willie Cole    Lizzy


 2013, leather, shoes, stainless steel wire, nylon thread, screws
 ca. 48 by 43 by by 23 cm (19 by 17 by 9 in.)

 

private collection, London, UK

 

 

 

 

Willie Cole     Gas Snake Studies


ca. 1995, UNIQUE!
Polaroid photographs, felt-tip marker, on watercolor paper,

ca. 44 by 55 cm (17.25 by 21.5 in.)

Included in the publication Deep Impressions (Rowan University, 2010, page 17)

 

 

 

Willie Cole    GE Mask and Scarification

1998, two sandblasted glass panels, photographs, wooden shelf
ca. 35,5 by 59 by 10 cm (ca. 14 H by 23 by 4 in.)

 

 

 

 

 

Travis Somerville     Freedom Mugs

2015, graphite on vintage money bags, three sections
ca. 122 by 26 cm per section (ca. 48 by 10 in. per section)
installed ca. 121 by 91 cm (ca. 48 by 36 in.)

The portraits on Freedom Mugs are based on the mugshots of Freedom Riders arrested 1961 in Jackson, Mississippi.

 

 

 

 

Travis Somerville    Dress Up Daze

 

2014, oil, school letter, and thread on vintage money bags,

mounted on unstretched canvas

ca. 213 by 147 cm (84 by 58 in.)

 

 

 

 

Travis Somerville    Born Into It


2012, graphite on vintage money bags
173 by 162 cm (72 by 64 in.)

 

 private collection, Copenhague, Denmark

 

 

The portraits on Born Into It are from a series of portraits taken during the WPA period of people who had still been born into slavery.
Their portraits on vintage money bags, bearing inscriptions such as return to, Trustmark, or Bancorp South, are powerful hints to slave narrative and slave history, and the use of money bags refers to these humans as a commodity.

 

Los retratos en Born Into It (Nacido en ella) son de una serie de retratos que se hacen durante el período de WPA de las personas que todavía había nacido en la esclavitud.
Sus retratos en bolsas de dinero vintage, con inscripciones tales como return to ... (devolver al proprietario), Trustmark (signo de confianza), o Bancorp South (Bancorp sur), indicios de gran alcance para esclavo narrativa y esclavo de la historia, y el uso de bolsas de dinero se refiere a estos seres humanos como una mercancía.

 

 

 

Travis Somerville    Narrative Structure 3


2013, graphite on vintage cotton picking bag,

ca. 244 by 54 cm (96 by 21 in.)

 

private collection, New York, NY

 

 

 

 

 

Travis Somerville    Hamma Pahtada


2013, pencil and gesso on vintage cotton picking sack with flag
ca. 310 by 188 cm (122 by 74 in.)

 

private collection, São João da Madeira, Portugal

 

 

 

 

Travis Somerville    We built this Country

2013, graphite and vintage photograph on paper

ca. 76 by 56,5 cm (ca. 30 by 22 1/4 in.)