Corpus Alienum

HUNTER SHAW FINE ART

Corpus Alienum
Hayden Dunham, Don Edler, Amanda Vincelli


Opening reception Friday November 3, 6 - 9 pm

On view November 4 - December 1
Tuesday - Sunday, 12 - 6pm

2270 Venice Blvd. Los Angeles, CA 90006

 

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Hunter Shaw Fine Art presents Corpus Alienum, an exhibition by Hayden Dunham, Don Edler, and Amanda Vincelli. Examining power dynamics within the Corporation/consumer relationship, this exhibition explores the mutable nature of the body, presenting it as a site of both transformation and control. Probing the topics of agency, biopower, and consent, Corpus Alienum investigates the relationship between corporate personhood and biological personhood in the contemporary consumer landscape.

In 1886, the U.S. Supreme Court ruled that corporations were to be considered ‘persons’ under the 14th Amendment, written shortly after the Civil War supposedly to guarantee full citizenship and equal protection under law to former slaves. Henceforth, corporations would also enjoy the same rights and protections as individuals. This is commonly referred to as ‘corporate personhood.’ Problematically, it was left unclear who is ethically accountable when corporations break the law, act sociopathically, or violate the rights of other citizens. Who is responsible when an immaterial entity such as a corporation terrorizes, exploits, or inflicts harm on a biological entity? Who is accountable when, for example, a corporation knowingly uses carcinogenic ingredients in its products?

This line of inquiry parallels the conceptual framework of Hayden Dunham’s installations and sculpture. Dunham translates the formal attributes of ecological disaster and industrial byproduct into sculptural gesture: her materials spill, pool, seep, congeal, evaporate, infiltrate, contaminate. As with carcinogenic industrial byproducts, the locus of interaction with the consumer is often on the chemical or molecular level. Dunham frequently creates and utilizes airborne materials that are imperceptibly absorbed and incorporated into the viewer’s body, reflecting an unbalanced power dynamic becoming ever more familiar as water filtration systems fail to keep up with the veritable pharmacopeia that pollutes drinking water.     

This pervasive and penetrative pharmaceutical contamination is symptomatic of what has been described by gender and sexuality theorist Paul B. Preciado as the ‘Pharmacopornographic Era’ - the contemporary condition wherein the pharmaceutical industry, pornography, and late capitalism intersect to form a highly-normative system of control. The mechanism is fueled by a somato-consumerist feedback loop of manufactured desires - the testing, production, advertisement and sale of products that fulfill those desires - which subsequently reinforce the social, political, and sexual norms that perpetuate the cycle. Excite, control, repeat.

Don Edler’s ‘Pharmacopornographic Triptych’ is a sculptural relief comprised of carved, modular tablets embedded with pharmacopornographic merchandise such as  ‘male enhancement’ pills, birth control pills and sex toys the artist acquired through mainstream online retailers. The tablets are coated in a thick layer of surf wax, producing an unnatural monochrome surface quality, not unlike synthetic stone - a postmodern analog to Ancient Egyptian or Mesoamerican stone carvings, the pharmacopornographic tablets are the mytho-monumental artworks of a pharmacopornographic society. Much like Preciado’s notion of gender hacking, however, Edler subverts pharmacopornographic normativity, reclaiming agency by using components of the mechanism for radical, individualistic ends - queering the system by its own means. The ‘Pharmocopornographic Tryptich’ is a trans-object: modular, mutable, non-fixed, it can be rearranged in dozens of configurations at will. The elements of the triptych are equivalent to bodies with interchangeable parts, literally embedded with methods, products, symbols and signifiers of both ‘masculinity’ and ‘femininity.’

This fluidity is taken to its logical extreme in Amanda Vincelli’s video  ‘HYGIENA,’ a narrative loop centered on the interaction of a human and an AI humanoid. Taking place in an alternate reality, virtual space, or near future, ‘HYGIENA’ focuses on a ritualized maintenance procedure executed within the high-key lighting and commercial production values of what could be an advertisement, music video, or porn clip. A presumably biological human carefully cleans an android whose physical and sexual characteristics are mutable according to the human’s desires. With a finger’s swipe on the corresponding app, the AI’s physique can be transformed within gradients of criteria such as muscle mass, skin color, sexual organ, etc. This transference of subjugation onto the AI blurs the distinction of who is being cared for, who is receiving pleasure, who is being used. The AI is inherently an extension of contemporary capitalism. Accordingly, ‘HYGIENA’ uncovers an essential objective of that system: identify and exploit emergent markets, even if they contradict existing normative paradigms. Capitalism will supply for any demand, whether it's for a multisexual humanoid companion or the latest esoteric ‘wellness’ program.

Corpus, the Latin word for ‘body,’ is the etymological root of the word ‘corpse.’ The medical term corpus alienum literally translates to ‘foreign body’ - something that originates outside  the corporeal perimeter of an organism. The word ‘corporeal,’ also derived from corpus, articulates the ontological distinction between the body and spirit - i.e. ‘corporeal’ vs. ‘ethereal.’ The word ‘corporation’ refers to a group of people authorized to act as a single entity and recognized as such in law. The aim of this exhibition is to explore the links between these categories and question how to draft a future cartography whereby ‘corporate persons’ bear the same accountability as biological persons, and individuals can assert autonomy over their own corporeal experience.

Hayden Dunham received a BA from the Gallatin School of Individual Study at New York University, studying environmental science, applied psychology, advertising and gender / sexuality. Exhibitions include Apocalypse Summer, Ltd. LA, Los Angeles, CA (2017); As Above So Below: Portals, Visions, Spirits and Mystics, Irish Museum of Modern Art, Dublin, Ireland (2017); Watermark, SIGNAL, Brooklyn, NY (2016); bio:dip: Hayden Dunham and Nicolas Lobo, Red Bull Studios, New York, NY (2016); EVERYTHINGS: Hayden Dunham, Parker Ito, Timur Si-Quin, Andrea Rosen Gallery, New York, NY (2015); FORMS, in collaboration with Center for Light Research, Farewell, Austin, TX (2015).

Don Edler received an MFA in Studio Art from New York University,  and a BFA in Sculpture from University of Florida, Gainesville, FL. Edler also attended Skowhegan School of Painting and Sculpture, Madison, ME. Recent group exhibitions include The Useful and the Decorative, The Landing, Los Angeles, CA (2017); Memory Room, curated by Andrew Ross, Outpost Artist Resources, Queens, NY (2016). Recent solo and two-person exhibitions include The Father The Sun and the Holy Road, San Diego Art Institute, San Diego, CA (2016); COBRA DESTROYER, Central Park Gallery, Los Angeles, CA (2016); Boredom is the Ultimate Weapon, HQHQ, Portland, OR (2015).

Amanda Vincelli is completing an MFA in Photography and Media from California Institute of the Arts, Valencia, CA. Additionally, Vincelli has studied Strategic Design at Parsons the New School for Design, New York, NY; and Health Sciences at André-Grasset College, Montreal, QC, Canada. Recent exhibitions include Clothing Optional, curated by Sohrab Mohebbi, Night Gallery, Los Angeles, CA (2017); The Public Space: Regimen, Studio XX, Never Apart, Warren G Flowers Art Gallery, and other public locations, Montreal, QC, Canada (2017); Body of Research, Sloan Projects, Los Angeles, CA (2016); Regimen, MFA Mid-Residency exhibition, California Institute of the Arts, Valencia, CA (2016).

PRIVATE VIEWING Vol. 1 - Aspen, CO • July 26 - August 6, 2017

Historic pottery and sculpture from the Mimbres and Hopi cultures of the Southwestern United States, as well as Nazca and Jalisco era Pre-Columbian artworks.  

Contemporary and modern works by Claire Colette, Brian Hunt, Aaron Morse, Jean Nagai, Kelly Palmer, Ken Price, Robert Richenberg, Alan Shields, and Grey Turner.

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AVAILABLE WORKS BY AARON MORSE

Hunter Shaw Fine Art is pleased to announce available works by Aaron Morse. 

Aaron Morse
Cloud World (Western Creatures)
2017
Acrylic and watercolor on paper
30 x 22 inches

Aaron Morse
Temple of Nature
2017
Acrylic and watercolor on paper
30 x 22 inches

Aaron Morse
Mt. St. John (Color Variant)
2017
Acrylic and watercolor on paper
30 x 22 inches

Aaron Morse
Philosophical Creatures (Study)
2011
Acrylic and watercolor on paper
16.5 x 21.5 inches

SPRUNG! • May 20 - 31, 2017

HUNTER SHAW FINE ART
presents:

SPRUNG!
Dan Beard, Jamie Felton, Daniel Ingroff, 
Jonny Negron, Kira Shewfelt, Sarah Ann Weber

Opening reception Saturday, May 20, 7 - 9 pm.
On view May 20 - 31, 12:00 - 6:00 pm.

Sarah Ann Weber, 'Jardin des Plantes,' 2016, Prismacolor colored pencil on paper and mat board, 12 x 14 inches

Sarah Ann Weber, 'Jardin des Plantes,' 2016, Prismacolor colored pencil on paper and mat board, 12 x 14 inches

Hunter Shaw Fine Art is pleased to announce SPRUNG! a group exhibition celebrating late spring, and exploring the connections between nature and eroticism, seasonality and sensuality.

Although the human animal is generally thought not to have a mating season, springtime holds a particular importance for us, as for most of our earthly coinhabitants. For thousands of years, in cultures worldwide, Spring has been represented and regarded with distinct connotations of romance, vitality, and sexual desire. As days grow longer, warmer and brighter, the world blooms and ripens, arousing not just the libido, but the awareness of nature and our place amongst it. Research indicates that as the body receives higher levels of sunlight, it produces increased levels of serotonin and Melanocyte Stimulating Hormone (MSH) which are linked to increased happiness and sex drive. In other words: in sunlight, we flower.

This eco-biological connection was not lost on our ancestors and is reflected in ancient spring fertility and copulation festivals from the Celtic Beltane, to the orgiastic “Lesser Mysteries” of ancient Greece, to Japan’s Onda Matsuri, to name just a few. Central to each of these celebrations is the ritualized ingestion and fetishized representation the Earth's bounty in the form of grapes, wine, pomegranates, blue lotus, cannabis, mushrooms and many other psychoactive and aphrodisiacal products of the land. This terrestrial communion no doubt amplified the sensory engagement with the natural environment, reinforcing the psychological connection between the senses and the seasons.

The artworks in this exhibition explore these age-old associations through the language of contemporary painting and drawing. By means of color, gesture, and line, these images are ripe with the gushing urgency of a late spring bloom. This exhibition is meant as a timely reminder that the appreciation of nature, beauty and romance is intimately entangled with what it means to be human.

Dan Beard received his BFA in painting from Northumbria University, Newcastle, UK (1996-1999), and has exhibited extensively in Europe. This is his first exhibition in North America. Recent exhibitions include ‘Discerning Eye,’ Mall Galleries, London (2016); ‘Correspond,’ Interview Room 11 Gallery, Edinburgh (2016); 'Anthology,' Charlie Smith Gallery London (2014); and 'Teleology,' Undead Painters, Husk Gallery, London (2014). Dan has also been the subject of solo exhibitions at Assembly Rooms, London (2013); Exposure Gallery, London (2010); Brinkkala Gallery, Turku (2008); Galleria Rajatila, Tampere (2008) amongst others.

Jamie Felton attended Skowhegan School of Painting and Sculpture (2014) in addition to receiving her MFA at Tyler School of Art, Rome, IT / Philadelphia, PA (2013) and her BFA in painting at Virginia Commonwealth University, Richmond, VA (2009). Recent exhibitions include 'Daydream Nation,' Greenpoint Terminal Gallery, Brooklyn, NY (2017); ‘John Emison and Jamie Felton: Sun Power,’ Ms. Barbers, Los Angeles, CA (2016); and  ‘Jamie Felton and Natalie Smith: Decorative Woman,’ Central Park Gallery, Los Angeles, CA (2016).

Daniel Ingroff received his MFA from University of California, Irvine, CA (2014) and his BA from Pitzer College, Claremont, CA (2006). Recent exhibitions include ‘Get Ready,’ curated by Shaun Johnson, 24 Hour Charlie’s, Los Angeles, CA (2017); ‘Flames on the Side of My Face,’ Klaus Von Nichtssagend Gallery, New York, NY (2015) ; ‘The White Album,’ Richard Telles Fine Art, Los Angeles, CA (2014).

Jonny Negron is a self-taught artist and illustrator. His illustrations  have  been commissioned by publications such as The New York Times, Pitchfork, and Vice, as well as for album artwork by bands Thee Oh Sees (‘Drop,’ Castleface Records, 2014) and Twin Sister (‘In Heaven,’ Domino USA, 2011). Recent exhibitions include ‘BIBLIOTECHA,’ ATM Gallery, Austin, TX (2017); ‘Maren Karlsen, Matt Lock, Jonny Negron: Formative World,’ Farewell, Austin, TX (2016-2017).

Kira Shewfelt received her MFA from New York University (2015), along with her MA in Art History from University of Southern California, Los Angeles, CA (2010), and her BA in literature from Yale University, New Haven, CT (2006). Recent exhibitions include ‘Darren Goins / Kira Shewfelt,’ Elevator Mondays, Los Angeles, CA (2017), ‘Remedios/Winter in Brazil,’ Largo das Artes, Rio de Janeiro (2016); and ‘Nobody Died That Year’ 80 WSE, New York City, NY (2014).

Sarah Ann Weber received her MFA from Pennsylvania Academy of the Fine Arts (2011) and her BFA from School of the Art Institute of Chicago (2009). Weber has been the subject of solo and two-person exhibitions ‘Sarah Ann Weber: Scenic View,’ Club Pro, Los Angeles, CA (2017); ‘Brian Rochefort and Sarah Ann Weber: Cavity,’ Some.Time.Salon., San Francisco, CA (2016). Recent group exhibitions include 'Psychonautics,' CES Gallery, Los Angeles, CA (2017); ‘How High,’ Left Field, San Luis Obispo, CA (2016); and 'Pulp in Ashes,' Tiger Strikes Asteroid, Los Angeles, CA (2015).

Claire Colette : Widening Circles

HUNTER SHAW FINE ART
presents:


Claire Colette : Widening Circles

Opening reception Sunday, February 26, 3 - 9 pm.
On view February 26 - March 6, 12:00 - 6:00 pm.

857 S. San Pedro St. Unit #310 *

The Beginning in the End | 2016 | acrylic polymer on panel | 48 x 36 inches

The Beginning in the End | 2016 | acrylic polymer on panel | 48 x 36 inches

I live my life in widening circles
that reach out across the world.
I may not complete this last one
but I give myself to it.

I circle around God, around the primordial tower.
I’ve been circling for thousands of years
and I still don’t know: am I a falcon,
a storm, or a great song?


-Rainer Maria Rilke


Hunter Shaw Fine Art is pleased to present Widening Circles, an exhibition of new works by Claire Colette, the artist’s first solo show in Los Angeles. Coinciding with the publication of a book of her drawings and poetry of the same title, the exhibition presents a selection of thematically-related paintings which showcase Colette’s ethereal brand of geometric abstraction.

At once deeply expressive and highly-technical, Colette’s meticulously-rendered compositions invite deep, meditative viewing. Operating at the nexus of spirituality and science fiction, the artist utilizes a refined geometric language to depict mental and emotional landscapes, liminal spaces and expanded states of consciousness. Recurring visual motifs are imbued with symbolic resonance: translucent planes intersect and overlap suggesting interconnectivity, planes of understanding and experience - widening circles, expanding into other ways of knowing.

Claire Colette received her MFA in painting from Mills College (2013). Recent solo exhibitions include ‘Ever/After,’ Berkeley Art Center, Berkeley, CA (2015); ‘Last Light Before A Long Night,’ Conduit Gallery, Dallas, TX (2014); ‘Small Moves in Strange Rooms,’ Eleanor Harwood Gallery, San Francisco, CA (2014). Colette’s work has been included in recent group exhibitions such as ‘Thick as Paper Thin,’ Brilliant Champions Gallery, Brooklyn, NY (2016); ‘Form Is Not Different From Function,’ Left Field Gallery, San Luis Obispo, CA (2016); ‘That’s My Trip,’ Joshua Liner Gallery, New York, NY (2015).


* Exhibition space generously provided by WAYSIDE.LA

Adam de Boer : Night Swimming

HUNTER SHAW FINE ART
presents:


Adam de Boer : Night Swimming

Opening reception Thursday, December 8, 6-9 pm.
On view December 9 - December 12, 12:00 - 6:00 pm.

857 S. San Pedro St. Unit #310 *

Night Swimming No. 2 | 2016 | wax-resist acylic dye, oil paint, silver leaf on linen | 45 x 45 inches

Night Swimming No. 2 | 2016 | wax-resist acylic dye, oil paint, silver leaf on linen | 45 x 45 inches

Hunter Shaw Fine Art is pleased to announce its inaugural pop-up exhibition, Adam de Boer’s Night Swimming, the artist’s first solo presentation in Los Angeles. On view are eight new canvases showcasing the painter’s multi-layered approach to image-making. Harmoniously blending modes of abstraction, representation, landscape and figure, Night Swimming is imbued with a musical, narrative sensibility, propelling an aesthetic investigation into the complex dynamics of romantic love.

Across the series, we see moments from a love affair - the first encounter, the seduction, inevitable conflict - each rendered in a tropical, dreamlike palette. In much the same way that the dynamic of romance consists of the integration of disparate, often conflicting elements, each composition in Night Swimming arrives at a congruous image through the layering of various materials, processes and conceptual themes. De Boer begins each painting as a batik, a traditional wax-resist dyeing process the artist studied while traveling in Java, investigating his own Eurasian heritage. Once the wax and dye are boiled out of the surface, the resulting field of geometric abstraction serves as the ground for multiple layers of oil paint and details of silver-leaf. Occasionally the canvases are ornamented with intricate hand-carved teak wood embellishments, an art form also endemic to Indonesia.

The visual and material influence of Javanese craft and culture are central to the artist’s work and spring forth from his hybrid identity as a Dutch-Indonesian-American. The Javanese craft traditions de Boer draws upon are transformed beyond their traditional boundaries as they combine with western imagery and oil painting styles, ultimately crystallizing into an investigation of postcolonial identity. The artist states, “With images informed by a Western childhood and education, I misappropriate and mutate craft traditions outside their prescribed abstract designs into hybrid forms. Successful work is predicated on the capacity of the batik and carvings to be viewed from different, and oftentimes conflicting, vantages. These conflicts do not call for resolution but for reconciliation and adaption.”

In 2016 Adam was awarded a Fulbright research fellowship to Indonesia, where he will continue his engagement with the region’s indigenous crafts. Other grants include those from Arts For India, The Cultural Development Corporation, DC Commission on the Arts and Humanities, and The Santa Barbara Arts Fund.

Adam de Boer received his MFA from the Chelsea College of Art, London, and his BA in Painting from the College of Creative Studies at the University of California, Santa Barbara. Recent exhibitions include Art|Jog|8, Yogyakarta (2015); Indonesian Contemporary Art Network, Yogyakarta (2014); Cookhouse Gallery, Chelsea College of Art and Design, London (2014); University of California, Santa Barbara (2014); Escuela Taller, Bogotá (2013); Riflemaker, London (2016, 2013, 2011); Flashpoint Gallery, Washington, DC (2010).


* Exhibition space generously provided by WAYSIDE.LA

 

AVAILABLE WORKS BY CLAIRE COLETTE

HUNTER SHAW FINE ART is pleased to announce available works by Los Angeles-based painter Claire Colette. Colette's ethereal brand of geometric abstraction invites deep, meditative viewing. Multiple planes intersect and overlap in meticulously rendered asymmetric or nearly-symmetric compositions that suggest deco/futurist blueprints, alien schematics and spiritual innervisions.    

On Ceremony ; 2015 ; acrylic on panel ; 24 x 18 inches

On Ceremony ; 2015 ; acrylic on panel ; 24 x 18 inches

 

 

On Wildness ; 2015 ; acrylic on panel ; 20 x 24 inches

On Wildness ; 2015 ; acrylic on panel ; 20 x 24 inches

 

 

A Thrill of the Mind, A Theater ; 2015 ; acrylic on panel ; 40 x 30 inches

A Thrill of the Mind, A Theater ; 2015 ; acrylic on panel ; 40 x 30 inches

 

 

On Illusion ; 2015 ; acrylic on canvas ; 40 x 30 inches

On Illusion ; 2015 ; acrylic on canvas ; 40 x 30 inches