CHRISTIAN BONNEFOI
SARAH CHARLESWORTH
LIZ DESCHENES
ROE ETHRIDGE
JUTTA KOETHER
DANIEL LEFCOURT
VALENTINA LIERNUR
JASON LOEBS
SCOTT LYALL
NICK MAUSS
CHARLES MAYTON
JOHN MILLER
OLIVIER MOSSET
SEAN PAUL
JULIA PHILLIPS
EILEEN QUINLAN
BLAKE RAYNE
CLEMENT RODZIELSKI
CHRISTOPH RUCKHÄBERLE
NORA SCHULTZ
AMY SILLMAN
REENA SPAULINGS
JOANNE TATHAM & TOM O’SULLIVAN
CHEYNEY THOMPSON

DANIEL LEFCOURT

Born in 1975, New York City

Lives and Works in New York City

 

EDUCATION

2005 Master of Fine Arts, Columbia University, New York

1997 Bachelor of Fine Arts, Rhode Island School of Design, Providence


PUBLIC COLLECTIONS

The Whitney Museum of American Art, New York

MOCA – Museum of Contemporary Art, Los Angeles


SOLO EXHIBITIONS

2015 Tête, Campoli Presti, Paris

Anti-Scans, Campoli Presti, London

Blum and Poe, Los Angeles

2014 A Moveable Feast – Part VI, Campoli Presti, Paris

Cast,  Campoli Presti, London

2013 Art Statements with Campoli Presti, Art Basel

Mitchell-Innes & Nash, New York

2012 Debris field, Campoli Presti, Paris

Marginal Utility, ICA, Pennsylvania

Mock up, White flags project, Saint-Louis Missouri

2011 Active Surplus, Marginal Utility, Philadelphia

Prepared Ground, Taxter & Spengemann, New York

2009 Plot Fill, Sutton Lane (Campoli Presti), London

Check, Gallery Luis Campaña, Berlin

2007 Reversed and Remanded, Galerie Mitterrand + Sanz, Zurich

Interim Agreement, Sutton Lane (Campoli Presti), Paris

2006 Breach of Contract, Taxter and Spengemann, New York

2005 Everything is Here, Groeflin | Maag Gallerie, Basel, Switzerland

2004 Put All Doubt to Rest, Taxter and Spengemann, New York


GROUP EXHIBITIONS

2016 Group Exhibition, Campoli Presti, Paris

2015 Space and Matter, Sperone Westwater, New York

Collected by Thea Westreich Wagner and Ethan Wagner, Whitney Museum of American Art, New York

2014 Copied, Andrew Roth Gallery, New York

Aaron Bobrow, Daniel Lefcourt, Davina Semo, Andrea Rosen Gallery, New York

2013 Artist Web Project, Dia Art Foundation, New York

Beyond The Object, Brand New Gallery, Milan

Jew York, Jach Feuer & Untitled Gallery, New York

2012 First Among Equals, ICA, Philadelphia

Second Nature: Abstract photography then and now, deCordova Park and Museum, Lincoln

Real to Real: Photographs from the Traina Collection, de Young Museum, San Francisco

The Blind Cut, Marlborough Gallery, New York

2011 Matryoshka, Recess, New York

Dispatch Superimpose, Print Edition Launch at NY Art Book Fair, MoMA P.S.1 Contemporary Art Center, Long Island City

2010 GRØUP SHØW, Taxter & Spengemann, New York

Knights Move, Scultpure Center, New York

Solid State, Bureau, New York « Luxus der Empfindsamkeit », Luis Campaña Galerie, Cologne

Choit, Griffin, Hubbard, Lefcourt at Dispatch, New York

Foundation for Contemporary Arts Benefit, Lehmann Maupin, New York

2009 The Perpetual Dialogue, Andrea Rosen, New York

My Summer, Galerie Lelong, New York

New Ground Underground, Stonecape Collection Norah & Norman Stone, Calistoga

2008 Subject Index, Malmo Konsthall, Malmo

Useful Gestures / Useless Gesture, Dispatch

Union Square, Taxter and Spengemann, New York

2007 Past, Present, Future Perfect: Selections from the Ovitz Family Collection , H&R Block Artspace at The Kansas City Art Institute, Kansas City

Forced Abdication, Luis Campaña Galerie, Cologne

Concrete works, Mitchell-Innes & Nash, New York

For the People of Paris, Sutton Lane (Campoli Presti) Paris

Practical F/X, Mary Boone Gallery, New York

Collecting and Collectivity, Conduit Gallery, Dallas

2006 The Gold Standard, PS 1 Contemporary Arts Center, Long Island City

Everything Beautiful and Noble is the Result of Reason and Calculation, curated by Howie Chen and Gabrielle Giattino, EFA Gallery, New York

Clarissa Dalrymple’s Exhibition of Young Artists to Benefit the Center for Contemporary Arts, Bartolami Dayan, New York

Dice Thrown, curated by Joao Ribas, Bellwether, New York

Practical F/X, Mary Boone Gallery, New York

Fountains, D’Amelio Terras, New York

2005 Do You Like Stuff?, The Suiss Institute, New York

Day Labor, P.S.1/MoMA Institute for Contemporary Art, New York

Makers, Taxter and Spengemann, New York

The General’s Jamboree, Guild & Greyshkul, New York

Anima(r)tions, Galleria Sogospatti, Rome

2004 Fresh Meat, CEPA Gallery, Buffalo, New York

Mystery Achievement, Taxter & Spengemann, New York

The Block, Gallerie Une in Auverier, Switzerland

A Different World Like Ours, Vox Populi Gallery in Philadelphia

2003 Animations, Kunst Werke, Berlin

The Low End Theory, Minnesota Center for Photography, Minneapolis

Protest and Destroy, Oni Gallery, Boston

2002 Animations, P.S.1/MoMA Institute for Contemporary Art, New York

Salon IV, Oni Gallery, Boston

2001 Everybody Now, Bertha and Karl Leubsdorf Art Gallery at Hunter College, New York

New Work from New York, Cheekwood Museum of Art, Nashville

2000 Greater New York, P.S.1 Institute for Contemporary Art, New York

Somewhat Corrupt: Digital Art, Fordham University, New York


BIBLIOGRAPHY

2015 “Daniel Lefcourt”, Aude Launay, 02 Zerodeux, Winter 2015-2016

2014  « Daniel Lefcourt », Reviews in Brief, Modern Painters, June

2013  « Must-see Painting Shows: June 2013 », Huffpost Arts & Culture, June

D’Agostino, Paul, « Daniel Lefcourt », The L Magazine, June 6

“Modeling Art: Daniel Lefcourt at Michell- Innes & Nash”, Lucy Li, artcritical

2012 « The Traina Collection » (exhibition catalogue), de Young Museum, Kevin Moore & Julian Cox

The Blind Cut (exhibition catalogue), Marlborough Gallery, New York, January

Andrew Blackley, Superimpose (review), Art in Print, January-February

2011 “Prepared ground”, Airdaily.org, April

“Goings on about town – Art”, The New York Times, March 21

“December First Friday,” PhiladelphiaWeekly.com, November 30

Daniel Gerwin, “Daniel Lefourt, Active Surplus,” Title-Magazine.com, December 14

2010 “Knight’s Move” (exhibition catalogue), Scultpure Center, Long Island City

2009 « Art in Review: the Perpetual Dialogue », Holland Cotter, The New York Times, Friday, January 8, P.C32

2008 « Subject Index », (exh.catalogue), Malmo KonstMuseum, Malmo, Sweden

2009 « Art in Review: the Perpetual Dialogue », Holland Cotter, The New York Times, Friday, January 8, P.C32

2007 « Warnschauss traf Tur des Fluchtwagens », 20 minuten, June 12, 2007, p.3

« For the People of Paris », Paris (exh.catalogue)

« Daniel Lefcourt », Taxter & Spengemann, Katie Stone Sonnenborn, Frieze, Issue #104, Jan – Feb, 2007

« Collectivism and Collaboration », Charissa N.Terranova & Noah Simblist, Art Lies, Issue #56, Winter, 2007

2006 « Daniel Lefcourt », Emily Hall, Artforum, November 2006

Art in Review: « Dice Thrown (Will Never Annul Chance) » Roberta Smith, The New York Times, Fri 3 November

« Dice Thrown (Will Never Annul Chance), » The New Yorker, November 6, 2006, p.25

« Dice Thrown, » Time Out New York, November 2-8, 2006, Issue 579.

Art in Review: « Daniel Lefcourt, » Roberta Smith, The New York Times, September 29, 2006, p. E33.

Critic’s Notebook: « Chelsea Is a Battlefield: Galleries Muster Groups, » Roberta Smith, The New York Times, July 28, 2006, p. E33.

Review: « Everything Beautiful and Noble Is the Result of Reason and Calculation, » Cecilia Alemani, Critics’ Picks: New York, www.artforum.com, week of February 20, 2006

2005 « What’s In A Name, » Kelly Devine Thomas, ARTnews, November, 2005

« Like a Rock, » Jerry Saltz, The Village Voice, Dec. 21, 2004 – January 2, 2005

2004 « Mystery Achievement », Emily Speers Mears, Critics’Picks, New York, www.artforum.com, October 5, 2004

« Weekend Update, » Walter Robinson, September 18th , 2004, artnet.com.

Artworks:Money, Edited by Katy Siegel, London: Thames and Hudson, 2004

2003 « Animations », Exhibition Catalog, Curated by Carolyn Christov-Bakargiev, Berlin: Kunst Werke, 2003

2001 « The Histories Series, » Grace Glueck, New York Times, Nov 30th

2000 « A Day in the City (5th Avenue) » P.S.1 Writers Project, Alan Moore, 2000

1999 « GoGlobal », Cate McQuaid, The Boston Globe, December 9th, 1999


PUBLISHED WRITINGS

Catalog Essay: An Allegory for the Allegorist, Kevin Zucker, New York: Greenberg Van Doren Gallery, 2007

Interview with Allan McCollum, NDP #3, New York: North Drive Press, 2006


LECTURES 

2009 Invited Lectures:

Harvard University, Cambridge, MA

Wellesley College, Wellesley, MA

Ontario College of Art & Design, Toronto, ON

Skidmore College, Saratoga Springs, NY

University of Texas, Arlington, TX

2007 Visiting Artist Lecture and Critic, Rhode Island School of Design, Providence, RI

2006 Visiting Artist Lecture, City College of New York, NY

24 November – 22 December

24 Nov, 2007-22 Dec, 2007

Sutton Lane (Campoli Presti), Paris

Interim Agreement

15 Sep, 2007-13 Oct, 2007

Sutton Lane (Campoli Presti), Paris

Daniel Lefcourt
Interim Agreement
15 September – 13 October 2007

« Non-denial denial is a term for a particular kind of equivocation; specifically, an apparent denial that appears to be direct, clearcut and unambiguous when heard, but on further examination is not a denial at all. A non-denial denial is not a lie per se, because what is said is literally true, but is instead a form of deception known as an evasion.
The phrase was popularized during the Watergate era by Woodward and Bernstein in their book All the President’s Men, in reference to evasive statements by then-Attorney-General John Mitchell. »
– « Non-denial denial » from Wikipedia.

For the inaugural exhibition of its new location 6 rue de Braque, Sutton Lane is pleased to announce the first exhibition in Paris of New York artist Daniel Lefcourt. In the show the artist will present a group of new sculptures and dust drawings.

Lefcourt’s painting like horizontal arrangements of beautifully finished strips of MDF board painted black further explore the correlation between painting and sculpture while at the same time reflecting concerns with formal strategies of art and abstract language.
In dialogue with his dust drawings these works can be seen as signs of absence, “evasive statements” which allude to that which has been negated or denied.

Daniel Lefcourt lives and works in Brooklyn, New York. He received his MFA from Columbia University in 2005. He has had solo exhibitions at Taxter and Spengemann in New York, in 2004 and 2006. Lefcourt’s work has been featured in numerous group shows including Greater New York in 2000 and The Gold Standard in 2006, Museum of Modern Art P.S.1; Do You Like Stuff?, Swiss Institute in New York; and For the People of Paris, Sutton Lane Paris.
His work has been reviewed in ArtForum, The New York Times, Frieze, The New Yorker, ArtNews, ArtNet.com, The Boston Globe and has been included in publications such as
Artworks: Money, by Katy Seigel.

Debris Field

02 Jun, 2012-28 Jul, 2012

Campoli Presti, Paris

Daniel Lefcout
Debris Field
2 – 28 July 2012
Campoli Presti, Paris

For his second solo exhibition in Paris, Daniel Lefcourt presents Debris Field, a series of monochrome oil paintings on linen. The pleasure and mystery of these paintings is embedded in the strange topography of the surfaces. Brush strokes, bubbling liquids, soaking paper, the folds of fabric, broken fragments, woodgrain, and minute specks of dust are dispersed across the picture plane of each artwork. While some of the marks and textures are the result of direct material procedures, others are highly mediated – having been digitally fabricated and cast using a specially formulated gesso painting ground. The result is a series of artworks suspended between disclosure and concealment, mineral and liquid, analog and digital, directness and substitution, material fact and the specter of representation.

The following is a brief summary of the process provided by the artist:
1. Actions and Materials:
An event (or session) is staged. Various materials are dispersed across the studio floor using a variety of actions such as pouring, scattering, breaking, and sweeping.

2. Capturing and Modeling:
Digital photos are taken at various points throughout the event. The digital images are transformed into low-relief 3-d computer models.

3. Mold-making and Casting:
The 3-d models are fabricated using a computer-controlled router (The models are inverted to create a negative mold). Specially formulated acrylic gesso paint is brushed and poured into the mold in multiple layers. When the final layers have dried, the cast paint is removed from the mold.

4. Finishing & Result:
Linen is adhered to the back of the paint and then stretched on strainer bars. a graphite-based oil paint is applied in a final layer across the entire surface.

Daniel Lefcourt lives and works in Brooklyn, New York. He received his MFA from Columbia University in 2005. He has had solo exhibitions at Taxter and Spengemann in New York (2006), Sutton Lane, Paris (2007), Galerie Mitterand + Sanz, Zurich (2007), Sutton Lane, London (2009), Taxter and Spengemann (2011). In 2012 he has also presented Marginal Utility, ICA, Pennsylvania and Mock up, White flags project, Saint-Louis. Lefcourt’s work has been featured in numerous group shows including The Gold Standard (2006) and Greater New York (2000) at Museum of Modern Art P.S.1, Do You Like Stuff? at Swiss Institute in New York (2005), Subject Index at Malmo Kunstmuseum (2008), and Knights Move, Sculpture Center, New York (2010).

Art / 44 / Basel Statements with Daniel Lefcourt

13 Jun, 2013-16 Jun, 2013

Basel

A Moveable Feast – Part VI

01 Mar, 2014-15 Mar, 2014

Campoli Presti, Paris

A Moveable Feast – Part VI
Daniel Lefcourt
1 – 15 March 2014
Campoli Presti, Paris

Campoli Presti is pleased to announce the sixth iteration of the ongoing exhibition A Moveable Feast with the display of the work Passive Surplus (2011) by Daniel Lefcourt. As in previous instalments of A Moveable Feast, the exhibition focuses on one work that has been decisive in the artist’s practice.

Daniel Lefcourt produces surfaces of strange topography, often formed by material traces of his working process that are dispersed across the picture plane of each piece. The result is a series of works that reflect on the material fact and its spectre of representation, the relationship between directness and mediation, and the architectural simulation involved in exhibition display.

The work on view is composed of a transparency projector (the outmoded technology once used for school and business presentations) pointing at a “screen” made of fibreboard that is installed in such a way that it resembles a painting or a large photograph. What is projected is not an image, but instead is actual sawdust that has been scattered directly onto the projector box. The hue of the wood in combination with the light of the projection creates a golden illumination of the transient aleatory composition.

Speaking to multiple disciplines and histories, Lefcourt considers Passive Surplus to be among the most significant of his works. It succinctly articulates the artist’s interests in physical and virtual surfaces; chance and other non-compositional techniques; and the calculated manipulation of the conventions of exhibition design and display.

Daniel Lefcourt lives and works in New York. His work has been featured in numerous exhibitions including MoMA P.S.1; the Sculpture Center, Long Island City; ICA Philadelphia; de Young Museum, San Francisco; Malmö Konstmuseum and Kunst-Werke Berlin. In 2013 the Dia Art Foundation commissioned a web project by the artist. He received his MFA from Columbia University and is a member of the faculty of Rhode Island School of Design.

Cast

13 Feb, 2014-22 Mar, 2014

Campoli Presti, London

Daniel Lefcourt
Cast
13 February – 22 March 2014
Campoli Presti, London

“I was digging through a forum for machine operators and sign makers. Most of the threads had predictable subjects – surface finishing techniques, prototyping and modeling, etc. – but then I stumbled on a post under the subject accidental cryogenics. I figured it was spam, but there was a post inside. My phone died as I was reading it – but I had already copied part of the text. When I tried to find the post again later it had been removed. It read:

…I was alive, I think, but I had become strangely inert. A certain numbness was coming over me. It was as though I had passed through some kind of screen. It wasn’t necessarily horrible. It didn’t feel like a nightmare. It was just blank, desensitized, anesthetized. I was thankful almost. So much of the disharmony of my everyday existence was fading. I must have looked dead or frozen, but my heart was beating. I felt connected to everything. My nervous system extended infinitely. I no longer slept. I no longer ate. No more pain. I was disassociated from the earth, but I had connected to a kind of pure mathematics. I became infinitely replicable. I could be anywhere, but I remained present. I was less fragile, less transient, more abstract. I could survive anything. I was sure this thing-like existence would last…

The text struck me as an allegory. More importantly, I realized it could be a working method.”

– Daniel Lefcourt

Campoli Presti is pleased to present Daniel Lefcourt’s fourth solo exhibition with the gallery. Cast comprises large relief paintings on canvas and panel within a modified exhibition framework. All of the works are structured around a set of oppositions between: image and object, directness and mediation, simulated and real.

Through the exploration of these themes Lefcourt has developed a complex set of procedures to create the paintings. His techniques use aspects of photography, computer modeling, digital fabrication, and sculptural casting. All of the works in the exhibition are derived from improvised chance procedures performed under the macro-lens of a digital camera. The minute movements of paint, dust, and debris are then recreated as low relief 3-dimensional computer models. The model is then enlarged and carved into foam molds using computer-aided machining. Finally, paint is brushed into the mold, allowed to dry, peeled up and adhered to canvas.

Similarly, the works on panel use computer-aided machining, except here the image is carved directly into fiberboard. Lefcourt’s expertise in machine operation allows him to design and modify the specific tool-path with which each work is carved. The works are then meticulously finished either with transparent resin, or a combination of graphite and polyurethane that serves to articulate the minute details of the surface.

Lefcourt’s work reflects on contemporary digital image production while negotiating the reality of material procedures. He is interested in the moment in which the virtual, the simulated confronts the physical reality of the image. This interest extends into the language of framing and exhibition architecture, the pine frames and fiberboard walls address conventions of display, testing the relation between model, simulation and the material object.

Daniel Lefcourt lives and works in New York. His work has been featured in numerous exhibitions including MoMA P.S.1; the Sculpture Center, Long Island; ICA Philadelphia; de Young Museum, San Francisco; Malmö Konstmuseum and Kunst-Werke Berlin. In 2013 the Dia Art Foundation commissioned a web project by the artist. He received his MFA from Columbia University and is a member of the faculty of Rhode Island School of Design.

Anti-Scans

13 Oct, 2015-14 Nov, 2015

Campoli Presti, London

Daniel Lefcourt
Anti-Scans
13 October – 14 November 2015
Campoli Presti, London

Campoli Presti is pleased to present Anti-Scans, Daniel Lefcourt’s sixth exhibition with the gallery. Throughout his career, Lefcourt has continually engaged the space between painting and technical imaging. By using scientific, commercial, and military technologies to create his work, Lefcourt draws painting into the broader conflicts and politics of representation.

To create his new series of paintings, Lefcourt has used 3-D scanning techniques (photogrammetry, laser) originally developed for the fields of archeology, forensics and cartography. While the scientific fields that use these methods are concerned most of all with accuracy, Lefcourt uses 3D scanning as the basis for a material play with the languages of painting.

The works featured in Anti-Scans present surfaces and supports such as canvas and wood, as well as painting media and pigment. The reflections and movement of the paint while it is still in motion creates unpredictable distortions in the scanned model – what was a smooth reflective surface might translate as a crystalline structure, or simply an empty gap – while the detailed surfaces on which the paint sits, create a legible, if artificial, ground.

Anti-Scans are precise recordings of the material world, but they are also a kind of digital hallucination. The scans are simultaneously highly detailed, yet filled with errors and glitches. These temporary aberrations have been captured, enlarged, and ‘stored’ as paint on canvas. Counter-intuitively, it is the errors in the scans – and the subtle variation in each painting – that serve to register the material basis of digital input and output.

Alongside the paintings are two new pairs of drawings that conflate various historical methods of image production. Over the course of the past year Lefcourt has created a large set of rubber stamps using a laser engraver – all the imagery relating to the paintings, and to the production of technical images in general. For Lefcourt, this collection of stamps is a kind of historical database – each image stored in rubber hardware. This database can be queried, returning the results by hand-printing each stamp individually, in varying tones and sequences.

While the works at first appear to be descriptive and ‘readable’, this apparent legibility is continually frustrated and postponed. Instead we are left with a rigorously abstract set of artworks. Ultimately, the Query drawings are a rebus, structured by rhythm and sequence.

Daniel Lefcourt lives and works in New York. His work forms part of the collection of the Whitney Museum of American Art, New York and MOCA – Museum of Contemporary Art, Los Angeles. Lefcourt’s work has been featured in numerous exhibitions including MoMA P.S.1; the Sculpture Center, Long Island City; ICA Philadelphia; de Young Museum, San Francisco; Malmö Konstmuseum and Kunst-Werke Berlin. In 2013 the Dia Art Foundation commissioned a web project by the artist. He received his MFA from Columbia University and is a member of the faculty of Rhode Island School of Design.

For the People of Paris

13 Jan, 2007-10 Feb, 2007

Sutton Lane (Campoli Presti), London

Group exhibition celebrating Thea Westreich and Ethan Wagners donation to the Whitney and Pompidou

09 Jun, 2016-15 Jul, 2016

Campoli Presti, Paris

Liz Deschenes / Jutta Koether / Daniel Lefcourt / Scott Lyall / Sean Paul / Eileen Quinlan / Blake Rayne / Reena Spaulings / Cheyney Thompson
10 June – 23 July 2016
Campoli Presti, Paris

Campoli Presti is pleased to present a group exhibition featuring works by Liz Deschenes, Jutta Koether, Daniel Lefcourt, Scott Lyall, Sean Paul, Eileen Quinlan, Blake Rayne, Reena Spaulings and Cheyney Thompson. This generation of artists, which the gallery has represented since the beginning, has markedly contributed to redefine notions on medium-specificity and artistic agency. Their work was recently included in the exhibition “Collected by Thea Westreich Wagner and Ethan Wagner” at the Whitney Museum of American Art in New York which has travelled to the Centre Pompidou in Paris and is currently on view.

Making use of the medium’s most elemental aspects, namely paper, light, and chemicals, Liz Deschenes has recently worked without a camera to produce reflective photograms. These are obtained by exposing sheets of photosensitive paper to the ambient light of night before fixing them with silver toner. Deschenes’ work is increasingly concerned with architectural and historical contexts of exhibition display. Spatial factors and tangible conditions of display become inscribed in the physicality of the artwork rendering the photograph as a framing-device that intends to ‘bracket’ the space and activate the viewer. The reflective surface of the new photograms on view engages the movements of the viewer and the surrounding architecture.

Jutta Koether’s practice often involves appropriations of literature and art history masters, negotiating questions of aesthetic consensus and of the social-economical networks in which artistic practice operates. Based on Helios and Phaeton by Nicolas Poussin, Koether’s work presented in the exhibition alludes to the geometrical landmark of Western Art while defining a field of play. Locked in the material structure around it, the figure is engaged in a broader movement, organising different zones of contact. By addressing the attraction between archaism and metrics, Koether’s systematic application of paint engages the viewer in a micro-contemplation, comparable to the visual experience of picking up pennies from the ground. The painting forms part of a broader series of works that explores the allegorical figure of Fortune’s wheel and the medieval goddess Fortuna, a metaphor of role of chance in time’s passage.

Throughout his career, Daniel Lefcourt has continually engaged the space between painting and technical imaging. Lefcourt’s work reflects on contemporary image production and the digital economy of images while negotiating the reality of material procedures. His production techniques use aspects of photography, computer modelling, digital fabrication, and sculptural casting. For his Plot Fill and Cast series, Lefcourt has used computer-controlled router, digital scanning and machining techniques as the basis for a play with written and visual communication and the languages of painting. His new body of work from 2016 collapses both series, exploring the space between writing, drawing and painting. Entirely mechanically produced, Untitled (Machine Painting), 2016 is based on geometric drawings that program the path of the brush. Developed from Lefcourt’s interest in digital technologies, the works push the boundaries of painting, juxtaposing the mechanical with the chance of the material.

Scott Lyall’s recent series of works research on the status of digital colour as a code that is constantly translated, transformed, and materialized; continually delaying or deferring its meaning. His printing technique extends this act of translation as it turns information directly into colour. The canvases are produced by combining ink and its erasure, in multiple passes, through a UV-based printer. These graphic assemblages of colour data – ‘non-images’ in a certain way – form visual atmospheres that shift depending on different viewpoints, inscribing within the process an actual experience of ‘colour’.

In Sean Paul’s Arrangement 15, Front/Top/Bottom/Right/Left/Back, a still life assembled from domestic products (cup, bowl, saucer, and plate) is marked with black squares of tape; the black squares function as tokens, which allow the spatial geometry of the still life to be discerned. Following standard practices of technical representation, used for example in the fields of architecture or product design, the still life is pictured from six perpendicular planes forming a box of views composed of the front, back, left, right, top and bottom angles. This plane then becomes the array, which informs the material images’ unfolding into lived space, or a domestic scene. Madame Leblanc, Rerversed, 2012 is based on the Ingres masterpiece “Madame Leblanc”. This print admits 4 different folds, therefore 8 possible configurations on the wall. It is imagined as being folded upon an idealized architectural plane. The type of fold represented above is mapped into a 90 degree convex angle of an existing space.

Eileen Quinlan explores photography’s capacity to be both record of physical facts and deceptive illusion. Employing analogue techniques in an era of digital manipulation, Quinlan creates atmospheric abstract images using the standard tricks of commercial film photography. Based entirely in the studio, Quinlan’s work uses pre-digital photography techniques—such as gels, strobes, smoke and mirrors—to create mesmerizing abstract compositions of light, colour, and texture. Her works recall the pure abstraction of Modernist painting, but are actually direct representations of the items used to create backdrops in commercial photography. The polaroid plays an important role in Quinlan’s practice, often employed as a first take when photographing the still lifes she stages in the studio.

Blake Rayne’s last series of paintings related to his interest in recording sequential streams of movement into painting, drawing a continuous wandering line throughout the picture plane. Rayne freely paints the line tracing the surface in an intuitive movement that recalls automatic writing techniques, evoking the wandering and errant traces of digital interfaces. His new body of work from 2016 further explores these concerns by collapsing line and process. For Untitled, 2016 a steel banding commonly used in the shipment of crates was utilized as a soft stencil to create a white looping line lightly dusted with aerated acrylic paint in layers of various colours. The paperclips that initially held the banding together were released to allow for expansion into the final shape of each of the line compositions, now appearing as silhouettes.

Reena Spaulings’ The Dealers (2007) and The New Dealers (2013) were portraits of gallerists based on images downloaded from Artforum.com’s ‘Scene & Herd’ and other art world-related websites depicting friends and professional colleagues that Spaulings worked with over the years. The portraits from 2013 – the second instalment of the series first shown at Kunsthalle Zürich in 2007 – featured a more recent generation of art dealers, exposing the increasing social interests that rule the art market by turning the traders into commodities themselves. Executed in active brushstrokes the portraits play with various features of expressionist figurative painting from the 80s, such as the preference for parody or working from found images. These irreverent portraits of prominent gallerists reflect Spaulings’ interest in art’s status as an exchangeable commodity, whilst addressing the specific displacements, social networks and ambiguities Reena Spaulings inhabits in her double identity of both artist and gallerist. The Complete Dealers features a rack with promotional postcards based on the paintings of both generations of dealers, on a display that evokes their rotating popularity and the visibility features of a retro marketing tool.

Cheyney Thompson’s work focuses on the technology, production and distribution of painting within the context of current abstract economy. Thompson presents us with a visual equivalency for the intangibly complex processes governing our economic systems. The works on paper on view are based on the « Drunken Walk » algorithm, an aleatory path that is used in financial theory to predict stock prices. The algorithm belongs to the study of certain seemingly random types of motion, from botanist Robert Brown’s 19th-century observations of pollen floating on water as well as mathematician Louis Bachelier’s early 20th-centry application of Brown to model fluctuations in stock markets. In this case the “random walk” taken by Thompson’s entity produced a new sequence of values, which he then mapped onto a path, akin to the path of a labyrinth.

***

Liz Deschenes’ work is part of the permanent collections of Centre Pompidou, Paris; MoMA, New York; Whitney Museum of American Art, New York; The Metropolitan Museum of Art, New York; The Walker Art Center, Minneapolis; The Art Institute of Chicago; Hirshhorn Museum and Sculpture Garden, Washington D.C; Corcoran Museum of Art, Washington D.C. and CCS Bard Hessel Museum, Annandale-on Hudson. Deschenes has an upcoming survey exhibition at the ICA Boston opening on 28th June. She recently had solo exhibitions at the Walker Art Center, Minneapolis and at MASSMoCA, North Adams. Deschenes’ work was recently included in Collected by Thea Westreich Wagner and Ethan Wagner at the Whitney Museum, New York and in Sites of Reason: A Selection of Recent Acquisitions at MoMA, New York. Past exhibitions include a solo exhibition at Secession, Vienna (2012-2013); the Whitney Biennial 2012 and Parcours at the Art Institute of Chicago with Florian Pumhösl (2013).

Jutta Koether was born in Cologne in 1958. She lives and works between New York and Berlin. Her work forms part of the permanent collections of MoMA, New York; the Musée d’art moderne de la ville de Paris; Museum of Contemporary Art (MOCA) in Los Angeles; Nationalgalerie in Berlin and Kunsthalle Bern. Koether has an upcoming survey exhibition at Brandhorst Museum, Munich in 2017. Her work was part of Painting 2.0, Expression in the Information Age at Brandhorst Museum travelling to Mumok, Vienna. Koether has had solo exhibitions at DCA – Dundee Contemporary Arts (2013); Arnolfini, Bristol (2013); Moderna Museet, Stockholm (2011), Bergen Kunsthall, Norway (2008); Kunsthalle Bern, Switzerland (2007) and Kölnischer Kunstverein, Cologne (2006). She was included in the Shanghai Biennial in 2014, in the Whitney Biennial in 2012 and 2006 and in the 2012 Sao Paulo Biennial.

Daniel Lefcourt lives and works in New York. His work forms part of the collection of the Whitney Museum of American Art, New York, and MOCA – Museum of Contemporary Art, Los Angeles. Lefcourt’s work was recently on view at the Whitney Museum, New York in Collected by Thea Westreich Wagner and Ethan Wagner. His work has been featured in numerous exhibitions including MoMA P.S.1; the Sculpture Center, Long Island City; ICA Philadelphia; de Young Museum, San Francisco; Malmö Konstmuseum and Kunst-Werke Berlin. In 2013 the Dia Art Foundation commissioned a web project by the artist. He received his MFA from Columbia University and is a member of the faculty of Rhode Island School of Design.

Scott Lyall is part of the collection of the Whitney Museum, New York. Lyall’s work was recently on view at the Whitney Museum, New York as part of Collected by Thea Westreich and Ethan Wagner. Past exhibitions include The Colour Ball at The Power Plant in Toronto (solo); the little contemporaries at Sculpture Center, New York (solo); When Hangover Becomes Form (with Rachel Harrison), Contemporary Art Gallery, Vancouver; Anti-Establishment, curated by Johanna Burton, at the CCS Bard Hessel Museum; Schnitte im Raum, Museum Morsbroich, Leverkusen; Tentation d’Hazard, The Montreal Biennial 2011; Collatéral, Le Confort Moderne, Poitiers; The Lining of Forgetting, Austin Museum of Art, Weatherspoon Art Museum; and SITE Santa Fe, 7th International Biennial 2008.

Sean Paul (b. 1978 in Salt Lake City, Utah) lives and works in New York. He received a MFA from Columbia University, NY. Past solo exhibitions include Communication in the Presence of Noise and Service Relations, Thomas Duncan Gallery, Los Angeles; A Moveable Feast, Part II, Campoli Presti, Paris; and Every Hair of the Bear, Front Desk Apparatus, New York and Symposium, Sutton Lane (Campoli Presti), London. Recent group exhibitions include Collected by Thea Westreich Wagner and Ethan Wagner, Whitney Museum of American Art, New York; Blueprints, Hessel Museum of Art, Annandale-on-Hudson, NY and Collatéral, Le Confort Moderne, Centre pour l’Art Contemporain, Poitiers.

Eileen Quinlan lives and works in New York. Her work is included in public collections such as MoMA, New York; the Whitney Museum of American Art, New York; Los Angeles County Museum of Art; The Museum of Contemporary Art, Los Angeles; The Metropolitan Museum of Art, New York; and FRAC (Fonds Regional d’Art Contemporain), France. Her work was recently shown at the Museum of Cycladic Art, Athens and presented at Bergen Kunsthall, Norway in 2015. It formed part of Collected by Thea Westreich Wagner and Ethan Wagner at Whitney Museum of American Art, New York (2015/16) and New Photography 2013, curated by Roxana Marcoci at MoMA, New York. Quinlan had a two-person exhibition at The Kitchen, New York in 2012 and a solo exhibition at the ICA in Boston in 2009.

Blake Rayne lives and works in New York. His work is included in the permanent collections of the Museum of Modern Art, New York; Whitney Museum of American Art, New York and Fonds Regional d’Art Contemporain, France (FRAC). His upcoming survey solo exhibition at the Blaffer Art Museum de Houston, Texas will open in October 2016. His work recently was on view at the Whitney Museum, New York in Collected by Thea Westreich Wagner and Ethan Wagner. Past exhibitions include Künstlerhaus Graz, Austria (2013), Langen Foundation, Germany (2011), Kunsthalle Bergen (2010), The Kitchen, New York (2010) and Le Confort Moderne, Poitiers (2009).

Cheyney Thompson has had solo exhibitions at the MIT List Visual Arts Center, Cambridge, Massachusetts (with an accompanying monograph), and the Kunstverein Braunschweig, Germany; and his work was included in the 2008 Whitney Biennial. Group shows include: Une Histoire, Centre Pompidou, Paris, Chat Jet – Painting ‘Beyond’ The Medium at Künstlerhaus Graz; The Indiscipline of Painting, Tate St. Ives; Systems Analysis at West London Projects and Langen Foundation, Germany; Greater New York at P.S.1 Contemporary Art Center and The Venice Biennale, Italy in 2003.

For more information or images please contact Ines Dahn ines@campolipresti.com

Tête

21 Oct, 2015-18 Dec, 2015

Campoli Presti, Paris

Daniel Lefcourt
Tête
21 October – 18 December 2015
Campoli Presti, Paris

Campoli Presti is pleased to present Tête, Daniel Lefcourt’s seventh exhibition with the gallery, and the first exhibition of his green Cast paintings in France. These are the final two paintings from the Cast series, a major body of work that began in 2013. Throughout his career, Lefcourt has continually engaged the space between painting and technical imaging. By using scientific, commercial, and military technologies to create his work, Lefcourt draws painting into the broader conflicts and politics of representation.

To create the Cast paintings, Lefcourt begins by using “remote sensing” techniques. In the field of cartography, the term “remote sensing” refers to any technique used to measure spatial or dimensional information – aerial photography, photoclinometry, laser and structured light scanning, are all ways of acquiring dimensional data without physically touching the object of study. Working on a small scale, Lefcourt creates an aleatory terrain using paint, pigment, water, canvas, and board, which he then photographs from multiple angles and elevations in order to generate a low relief terrain model in a 3D software environment.

This spatial data is then output as painting: First the terrain model is machine fabricated in foam as a relief mold, paint is then brushed in to the carved mold, and finally the dry paint is peeled up as a sculptural skin and adhered to canvas. The result is a series of paintings that play with perceptual paradoxes. The works engage us with their physical, corporeal, presence, yet simultaneously they appear to continually recede.

Alongside the Cast paintings is a new pair of drawings that conflate various historical methods of image production. Over the course of the past year Lefcourt has created a large set of rubber stamps using a laser engraver – all the imagery relating to the paintings, and to the production of technical images in general. For Lefcourt, the collection of stamps is a kind of historical database – each image stored in rubber hardware. This database can be queried, returning the results by hand-printing each stamp individually, in varying tones and sequences.

While the drawings at first appear to be descriptive and “readable”, this apparent legibility is continually frustrated and postponed. Instead we are left with a rigorously abstract set of artworks. Ultimately, the “Query” drawings are a rebus, structured by rhythm, meter, and sequence.

The title of the exhibition is a reference to the French painter Jean Fautrier, specifically his Otage series. Fautrier spent time during the war keeping a low profile in a sanatorium just south of Paris where he had a makeshift studio. It was here that Fautrier began his Otage series, which includes Tete d’Otage. The works were a response to events unfolding in the woods outside his studio where Nazi forces were torturing and killing prisoners. Never having viewed his subject directly, Fautrier’s painting process can be thought of as another type of “remote sensing”.

Daniel Lefcourt lives and works in New York. His work forms part of the collection of the Whitney Museum of American Art, New York and MOCA – Museum of Contemporary Art, Los Angeles. Lefcourt’s work has been featured in numerous exhibitions including MoMA P.S.1; the Sculpture Center, Long Island City; ICA Philadelphia; de Young Museum, San Francisco; Malmö Konstmuseum and Kunst-Werke Berlin. In 2013 the Dia Art Foundation commissioned a web project by the artist. He received his MFA from Columbia University and is a member of the faculty of Rhode Island School of Design.

Plot Fill

16 May, 2009-25 Jul, 2009

Sutton Lane (Campoli Prest), London

Daniel Lefcourt
Plot Fill
16 May – 13 June 2009
Sutton Lane, London

Sutton Lane is pleased to present the first solo exhibition in London of New York based artist Daniel Lefcourt.

On view are four solid wooden objects, two transparency projections and two drawings on acetate. The transparencies are output using a computer pen-plotting device. The solid wooden pieces are output by a computer-controlled router, which both carves and cuts-out forms that are filled or outlined.

Throughout the exhibition Lefcourt explores written and visual language, a mutually inclusive interaction where text and image is mirrored and displaced. Meaning is simultaneously constructed and evaded, deflected and defined. The scale, placement, visual repetition, and graphic contrast of each work seem to be heavily weighted with signification, yet what this work signifies is left conspicuously open.

The artworks reflect on the particularly contemporary condition of dematerialised image production. The works originate as numeric geometry that has no inherent scale yet these are output as physical drawings and solid wooden objects.

Within the exhibition the artist displays the different elements to his work examining the process of production, at the same time investigating modes of display.

Daniel Lefcourt lives and works in Brooklyn, New York. He received his MFA from Columbia University in 2005.
He has an upcoming solo exhibition at Luis Campaña in Berlin. His work will be included in a group exhibition at Gallery Lelong, New York opening in June. He has had solo exhibitions at Sutton Lane, Paris (2007), Galerie Mitterand + Sanz, Zurich (2007), Taxter and Spengemann in New York (2006). Lefcourt’s work has been featured in numerous group shows including Subject Index at Malmo Kunstmuseum (2008), The Gold Standard (2006) and Greater New York (2000) at Museum of Modern Art P.S.1 and Do You Like Stuff? at Swiss Institute in New York (2005).