Jonathan Hopson presents "If it’s not mine, it’s mine," Marc Horowitz’s forthcoming solo exhibition with the gallery. The assemblage and five individual works on view - motifs within the artist’s expanding but as-of-yet inconclusive forensic system - develop research that took Horowitz from the Roman ruins in Milreu, Portugal to the Dia Foundation in New York, where he encountered Blinky Palermo’s slender, two-tone paintings.
Switching between artistic vernaculars, such as the triptych, and archeological tropes, such as the photographic scale, Horowitz parodies the desire to institute mastery over ambiguity and uncertainty found throughout these disciplines. His canvases, in this case photographic scales imprecisely detached from their measurement function, reassert the power of the performative fake, the obvious decoy, the anti-climactic pun, the not-so-funny funny guy.
Following the opening reception, the exhibit will be on display until October 13.
Jonathan Hopson presents "If it’s not mine, it’s mine," Marc Horowitz’s forthcoming solo exhibition with the gallery. The assemblage and five individual works on view - motifs within the artist’s expanding but as-of-yet inconclusive forensic system - develop research that took Horowitz from the Roman ruins in Milreu, Portugal to the Dia Foundation in New York, where he encountered Blinky Palermo’s slender, two-tone paintings.
Switching between artistic vernaculars, such as the triptych, and archeological tropes, such as the photographic scale, Horowitz parodies the desire to institute mastery over ambiguity and uncertainty found throughout these disciplines. His canvases, in this case photographic scales imprecisely detached from their measurement function, reassert the power of the performative fake, the obvious decoy, the anti-climactic pun, the not-so-funny funny guy.
Following the opening reception, the exhibit will be on display until October 13.
Jonathan Hopson presents "If it’s not mine, it’s mine," Marc Horowitz’s forthcoming solo exhibition with the gallery. The assemblage and five individual works on view - motifs within the artist’s expanding but as-of-yet inconclusive forensic system - develop research that took Horowitz from the Roman ruins in Milreu, Portugal to the Dia Foundation in New York, where he encountered Blinky Palermo’s slender, two-tone paintings.
Switching between artistic vernaculars, such as the triptych, and archeological tropes, such as the photographic scale, Horowitz parodies the desire to institute mastery over ambiguity and uncertainty found throughout these disciplines. His canvases, in this case photographic scales imprecisely detached from their measurement function, reassert the power of the performative fake, the obvious decoy, the anti-climactic pun, the not-so-funny funny guy.
Following the opening reception, the exhibit will be on display until October 13.