Feb. 20, 2013 - April 23, 2013
Drake’s winter exhibition looks at contemporary artists who are all using patterns and repeating forms in their work – inspired by everything from computer viruses, to Richard Prince and Renaissance tiles.
Upon entering the building, the front of the lobby has a suite of installations, all in various monochrome shades. The exhibition opens with Carlo Cesta’s steel sculpture in the vestibule. Entitled Heavy Snowfall, the piece is reminiscent of garden fences or musical notes. Drake’s iconic lobby chalkboard plays host to a monumental installation by Jeannie Thib. The pattern is based on a Renaissance tile pattern, digitally altered to give it a false perspective with segments removed, making the piece feel like it is constantly in flux. This piece is also made from cut steel in olive green, creating another layer of tension against the deep green chalkboard. At the end of the chalk board and at the top of the stairs are sculptures by Cal Lane, who uses a blowtorch to cut filigree patterns from old oil drums, sewer pipes, I-beams or in this case, ammunition boxes. The delicate cut patterns and their handmade filigree create a rich contrast against the boxes' former function.
These works lead to a site-specific installation in the back of the lobby by Jennifer Marman and Daniel Borins. Conceived as a visual representation of a computer-generated virus, this vibrant installation casts contrasting patterns across the wall. Installed on top of the wall work is a painting in a pattern of its own, activating a nuanced installation of contrasting patterns that come together to present a whole piece, brought together by its inconsistencies.
In the café, you’ll find photos by Eric Doeringer, who for a decade or so has been making what he calls bootlegs of works by famous artists. Often hand-rendered, these unabashed copies at once pay homage to the most important artists of the last 50 years and raise questions of authenticity, authorship and reproduction in the digital age. In this case, he's referencing Richard Prince's iconic photos that are based on vintage Marlborough ads.
In a sense, these works can seem to wash over the viewer. Most abandon the notion of a focal point, leading to a different kind of visual experience. Rather than focusing on a particular element, these works command attention as a whole.
We’d like to thank the artists for graciously sharing their work with our guests. Special thanks go to Diaz Contemporary, Georgia Scherman Projects, Katharine Mulherin Contemporary Art Projects, Katzman Kamen Gallery and Art Mûr for their support of the show.