Solo exhibition by Petra Cortright featuring works in 2D, 3D, and video. The artist presents stone sculptures for the first time in the form of three works carved from white Carrara marble, with a six-metre wide quadriptych being the largest painting by the artist to date. 🎨
A video installation is the latest in her “painting video” series. Cortright is a twenty-first century painter using contemporary tools. The Los Angeles-based artist is a celebrated member of a diffuse group known as “post internet” artists, who explore the effect of digital culture on the development of fine art.
After a series of critically acclaimed webcam performances distributed on YouTube, the artist consolidated her practice by using Photoshop to make paintings using brushes and images mined from internet search engines. Her use of platforms like Pinterest subverts traditionally gender normative content such as flowers and interiors, freeing this imagery into expansive digital landscapes.
The title of the show is also drawn from search terms used online. A final painting is a captured still from a master file that could be modified endlessly, so while her two-dimensional objects are static, they suggest dynamic change in reference to their source.
Nahmad Projects, 2 Cork Street, London W1S 3LB
10am – 6pm Monday – Friday
TIME AND PLACE:
Doors: Tue-Fri 11-6pm, Sat 12-6pm
@ Thomas Dane Gallery, 3 & 11 Duke Street St James’s, London SW1Y 6BN
A second solo exhibition by Irish artist, John Gerrard (b. Dublin 1974) consisting of two new works. Gerrard is widely regarded as a pioneer of digital media. Deceptively looking like film or video, his works are simulations – virtual worlds, made using real-time computer graphics, a technology developed by the military and now used extensively in the gaming industry. Often exploring geographically isolated locations – be they the agrarian American Great Plains, remote reaches of the Gobi Desert, or sites of military exercises in Djibouti – the works frequently refer to structures of power and networks of energy that have coincided with the expansion of human endeavor in the past century. In Gerrard’s two new works, hyper-technology meets this sense of isolation again.
In early 2014, following his denial of access by Google Inc, Gerrard hired a helicopter and produced a detailed photographic survey of one the key physical sites of the internet – a Google data server building in Oklahoma, also known as a ‘data farm’. This survey was the starting point of his new work entitled Farm (Pryor Creek, Oklahoma), 2015. It features a simulated ‘twin’ of the squat building flanked by diesel generators and powerful cooling towers. The work extends Gerrard’s ‘Grow Finish Unit’ series, which focuses on architecturally similar, computer-controlled park production units in the Midwestern USA.