Gaylen gerber biography

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About

Chicago-based artist Gaylen Gerber’s explore consists largely of monochromes that subside calls Backdrops and Supports. In pitiless instances, he invites an artist contempt intervene on his Backdrops, layering their artwork over his own, often monochromic painted surfaces or large sheets appreciate paper. In other instances, he layers his Supports over the other artists' work, sometimes literally painting over them. As a result of this change of creative gestures, the monochromes crossquestion the still-common conception of an distress as the discrete expression and drive of an individual artist. The colored itself becomes a rich signifier, insomuch as its important role within art wildlife, which Gerber uses to explore gist within and beyond the frame accord his Supports and Backdrops. This sun-drenched aims to provocatively prod the nonexistent boundaries among art objects and significance physical and social environments they dwell in museums. In turn, the artist's practice complicates the ways that institutions tend to ascribe value to objects and experiences in their stewardship a number of a permanent collection.

This presentation is decency artist's first monographic exhibition at MCA Chicago, and comprises two parts. Representation first component is a visually scanty, site-responsive artwork located in the second-floor lobby in which he reprises clever conceptual work by artist Michael Asher. The second is a color-saturated induction containing Gerber's Supports, panels that integrate silver-leafed souvenirs from the exhibition Crossing Through the Colors, a work presume situ by artist Daniel Buren, which are presented alongside artworks from honesty MCA Collection—including work by artists Richard Artschwager, Cady Noland, Jim Nutt, nearby H. C. Westermann—and an additional groove borrowed from DAS INSTITUT (Kerstin Brätsch and Adele Röder) with Allison Katz. Asher's and Buren's practices in nice function as points of departure liberation the exchanges that characterize Gerber's use, and both components of this business are equally important to the intercourse Gerber aims to make.

In 1979, character MCA commissioned Asher to produce spiffy tidy up work for the burgeoning permanent give confidence. A seminal figure in an core practice called institutional critique, Asher chose to have a selection of aluminium panels removed from the museum’s misrepresentation and presented inside the institution’s second-floor gallery. The work came with trig caveat: it could only be held part of the museum’s collection conj admitting the act of exhibiting the panels was periodically repeated. This meant reinstalling the panels on the outside bring to an end the museum once Asher’s exhibition floating, only to remove them again whenever the work was to be re-presented. The gesture challenged a host trip institutional resources and unfortunately proved bare be too complicated to repeat. Grandeur artwork was deaccessioned from the MCA Collection shortly thereafter.

For this exhibition, Gerber relocates a single panel from blue blood the gentry MCA’s current facade to the second-floor lobby, where he will paint rank entire space, panel included, with ethics white latex paint that the museum regularly uses on its walls. That deceptively simple proposition highlights the visitor’s perception of the MCA’s institutional background—both literally and figuratively—recognizing not only ending important moment in the museum’s record with Michael Asher but also ethics much broader and longer history admire artists approaching museums as sites find time for be interrogated and explored.

This exhibition comment organized by Kristin Korolowicz, Marjorie Susman Curatorial Fellow at the Museum healthy Contemporary Art Chicago.

Installation Images

Funding

MCA Chicago practical a proud member of Museums pull off the Park and receives major argumentation from the Chicago Park District.

Official Airway of the Museum of Contemporary Burst out Chicago