Dried Flower Style

Crafts, Hobbies & Home

Shaw, Cameron

Crafts & Hobbies

Trafalgar Square Books

Separately renowned in their respective mediums of film and painting, Harmony Korine and Rita Ackermann meet in their mutual affection for unorthodox, mischievous beauty, and more specifically in the creation of psychologically jarring figures amplified through fragmented narratives. Shadowfux documents the artists' first collaboration. Taking Korine's recent film Trash Humpers (2009) as its point of departure, it features large-scale works in which Ackermann and Korine have collaged, painted and drawn over stills of the film's beguiling young bodies with old faces. Generated through a call-and-response method, Shadowfux illustrates the importance of cutting to both artists' works. Additionally, it presents short texts by Korine, as well as previously unpublished deleted scenes from Trash Humpers. Accompanying the artists' works are short illustrative texts by exhibition curator Gianni Jetzer, curators Richard Flood and Piper Marshall, and critics Antoine Catala and Cameron Shaw.

Rita Ackermann & Harmony Korine: Shadowfux

Arts & Photography

Flood, Richard

Jetzer, Gianni

CATALA ANTOINE

Marshall, Piper

Individual Artists

Swiss Institute/Agnès b.

Few artists' names can connote such diverse associations as the Virgin Mary, Rudolph Giuliani and elephant dung. (Put thus, it seems rather an achievement.) Controversy tends to dog the art of Chris Ofili, and former New York Mayor Giuliani's suspension of funding for the Brooklyn Museum upon its exhibition of his 1996 painting "The Holy Virgin Mary" in 1999 was but one instance of the ire Ofili routinely arouses. When these occasional media commotions subside, one sees that the work is actually pleasing in more familiar ways: Ofili's surfaces sparkle with smears of glitter and bright veneer, resembling nothing so much as African icons. But Ofili has always been political, specifically in his confrontations with racial cliché, and in his insistent incorporation of materials from popular black culture. Devil's Pie derives its title from singer-songwriter D'Angelo's 1998 lyric meditation on temptation and retribution. According to the song, the ingredients of a devil's pie include "materialistic, greed and lust, jealousy, envious / bread and dough, cheddar cheese, flash and stash, cash and cream." Similarly diverse in its references and dichotomies, Ofili's work contains contradictions. This catalogue collects his work in sculpture, painting, printmaking and graphite drawing for the first time and includes texts by art writer and curator Klaus Kertess and writer Cameron Shaw.

Chris Ofili: Devil's Pie

Kertess,klaus

Reference

Steidl/David Zwirner Gallery

Published on the occasion of his fifth solo exhibition at David Zwirner gallery in New York, Even the Ghost of the Past presents new work by the influential young Canadian artist Marcel Dzama--including a DVD of original short films. A favorite among the art, literary and indie music scenes, Dzama is best known for his figurative compositions of pen and watercolor on manila-colored paper. Bearing a characteristic palette of muted browns, greys, greens and reds, Dzama's drawings are populated by an expansive cast of human, animal and hybrid characters. In recent years, Dzama has extended his practice to include work in multiple media. A recent exhibition, for example, transformed the gallery into an odeum of imagination, replete with drawings, sculptures, dioramas and films. Featuring an interview with the artist by filmmaker Spike Jonze and designed in collaboration with the artist as two hardback books twin-bound into one with a custom drawing on the cover, Even the Ghost of the Past is destined to become an instant collector's item. Marcel Dzama was born in 1974 in Winnipeg, Manitoba, Canada. A co-founder of the Winnipeg-based Royal Art Lodge collective, he currently lives in New York City.

Marcel Dzama: Even the Ghost of the Past

David Zwirner

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