Janice Guy, Untitled, c. 1979, Hand tinted, vintage gelatin-silver print, unique, 112.5 x 161.5 cm (framed).
Judy Linn, Patti, left tit, 1970s, Silver gelatin print, 40.5 x 51 cm.
Paul Bloodgood, England, 1819, 2006, Ink on paper, 25.5 x 33.5 cm.
Janice Guy, Untitled, c. 1979, Hand tinted, vintage gelatin-silver print, unique, 158.5 x 115.5 cm (framed).
50-58 Vyner Street
+44 20 8980 2662
Curated by Matthew Higgs
July 4-August 10, 2008
Unrelated brings together five artists based in New York. The artists and their respective works have little in common. Group shows typically seek to homogenize art, to establish points of correspondence between individual artists and discrete art works based on shared formal concerns or common intentions, etc.
Unrelated resists this process, creating a space for idiosyncratic artists and artworks to coexist temporarily. Unrelated was organized by Matthew Higgs, director of New York's White Columns. Higgs' own work is on view in Wilkinson's lower gallery.
Dan Asher has worked for more than 30 years across photography, film, painting, drawing, sculpture and music. He was a significant presence in New York's downtown art scene of the late 1970s and early 1980s, and in Cologne's art scene in the early 1990s (during which time his work was shown in London at Joshua Compston's Factual Nonsense.)
In the mid-to-late 1970s he worked extensively as a photographer documenting social realities in New York's Bowery and its nascent punk scene. In 2005 Asher's work was the subject of an informal career survey at Gavin Brown's Enterprise in New York. At Wilkinson he is represented by a group of rare oil stick drawings from c. 1983. Asher will have a solo show at White Columns, New York, this coming September.
Paul Bloodgood, co-founder — in the late 1980s — of New York's AC Project Room, an artist-run commercial gallery, that introduced many significant artists and hosted Isa Genzken's now infamous Fuck The Bauhaus show. In the 1990s his work was shown in New York at both Gavin Brown's Enterprise and 303 Gallery, when he also an artist's book of his text collages for Matthew Higgs' Imprint 93 publishing project.
After a sabbatical from making art Bloodgood recently started to show again, his work included in Clarissa Dalrymple's 2007 show Looking Back at White Columns, and is currently on view in a three-person show at David Zwirner, New York. At Wilkinson he shows a group of recent paintings — that collide 20th Century abstraction and 17th Century Chinese landscape painting — alongside works on paper produced over the past decade.
Sam Gordon's The Lost Kinetic World, Volumes 1-12 (2005-2007) is a 24 hour video that Gordon describes as: "... a magazine disguised as a movie, featuring art moments from the recent past." Shot mostly in New York's art world (with brief interludes filmed in Los Angeles, Miami, and San Francisco) The Lost Kinetic World functions as a moving diary (of sorts), a time capsule documenting his ongoing exposure to art works, exhibitions, performances, lectures, and other art-related events.
Described as a "free-form poem" Gordon has suggests that any segment from the film's 24 hour duration can be viewed as being "representative of the whole." Epic in scope, compellingly ordinary, the film is a precise, subjective restaging of an individual's experience of art. Gordon's solo exhibitions include Feature Inc., New York (1997, 1999, 2000, 2003, 2006, 2007), Ratio 3, San Francisco (2005), and Marc Foxx, Los Angeles (2001). This is the first showing of The Lost Kinetic World, Volumes 1-12 outside of the U.S.
Janice Guy trained in the late 1970s in the photography class of Bernd and Hilla Becher in Düsseldorf (alongside classmate Thomas Struth.) Prior to their reemergence in 2007 (at White Columns) Guy's photographs had not been seen since 1979, when she had her only solo exhibition at Galerie Ricke in Cologne.
Guy's work depicts the artist self-consciously engaged in the act of photographing herself. Exploring narcissism, (self-) objectification, and processes of representation. Guy's works can be understood as part of a complex and ongoing interrogation of identity-related image-making including work by Dan Graham, Hannah Wilke, and Urs Luthi, among others.
She abandoned art making in the early 1980s and is now better known as co-director of New York gallery Murray Guy. At Wilkinson Guy shows large format, hand-tinted vintage prints c. 1978/79. (Photographic work from this era by Guy is on view at Metropolitan Museum of Art.)
Judy Linn is widely known for her early images of Robert Mapplethorpe and Patti Smith (Linn's photographs grace the cover of Smith's 1972 book Seventh Heaven and her 1976 album Radio Ethiopia), Linn's photographs, which deftly avoid categorization, have, for more than three decades, described a world that exists just beyond our rational everyday.
Her approach and sensibility, which often seems closer to that of a painter or poet, is idiosyncratic: her images possessed by an extraordinary economy, wit, and intelligence.
Focusing on seemingly mundane aspects of the social landscape Linn's photographs celebrate the incidental, peripheral, marginal, overlooked, and the neglected. Recent solo shows include White Columns (2005), Presentation House, Vancouver (2007), and Feature Inc., New York (2007, 2001, 1997, 1995.) At Wilkinson Linn presents a group of images from the past 30 years.