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
EILEEN QUINLAN
BLAKE RAYNE
CLEMENT RODZIELSKI
CHRISTOPH RUCKHÄBERLE
NORA SCHULTZ
AMY SILLMAN
REENA SPAULINGS
JOANNE TATHAM & TOM O’SULLIVAN
CHEYNEY THOMPSON

SEAN PAUL

Born 1978 in Salt Lake City

Lives and works in New York

 

EDUCATION

2005 MFA, Columbia University, New York

2002 BFA, Maryland Institute College of Art, Baltimore

2001 Center for Art and Culture / Institute for American Universities, Aix-en-Provence

1997/98 Otis College of Art and Design, Los Angeles

 

PUBLIC COLLECTION

Whitney Museum of American Art, New York

 

SOLO EXHIBITIONS

2017 ADVERSARIES, INC, David Lewis, New York

2015 Communication in the Presence of Noise, Thomas Duncan Gallery, Los Angeles

2014 Service Relations, Thomas Duncan Gallery, Los Angeles

2013 A Moveable Feast – Part II, Campoli Presti, Paris

2011 Every Hair of the Bear, Front Desk Apparatus, New York, NY

2009 Sprachbarrierenstrasse, COMA, Berlin

2007 Symposium, Sutton Lane (Campoli Presti), London

2006 Sean Paul, Elisabeth Dee Gallery, New York

2005 You The with US, Sutton Lane (Campoli Presti), London

 

GROUP EXHIBITIONS

2017 From Counterculture to Cyberculture, curated by David Lewis, Altman Siegel, San Francisco

2016 Group Exhibition, Campoli Presti, Paris

Image Tech: Making Pictures in a Post-Digital Age, TCNJ Gallery, New Jersey

2015 Collected by Thea Westreich Wagner and Ethan Wagner, Whitney Museum of  American Art, New York

2014 Mineral Spirit, Laurel Gitlen, New York

Soft Shock, Eli Ping Frances Perkins, New York

2013 Avant de Rentrer, Il Faut Incendier la Maison, Thomas Duncan Gallery, Los Angeles

Blueprints, Hessel Museum of Art, Annandale-on-Hudson, NY

Snout To Tail, JTT Gallery, New York, NY

2012 Standard Operating Procedures, Blum&Poe, Los Angeles, CA

New York: Directions, Points of Interest, Massimo de Carlo, Milan, IT

2011 Massage, Andrew Roth Gallery, New York, NY

2009 Collatéral (with Liz Deschenes, Sam Lewitt, Scott Lyall, Cheyney Thompson, Eileen Quinlan, Blake Rayne), Le Confort Moderne / Centre pour l’Art Contemporain, Poitiers

Reframing, CCA Andratx Kunsthalle, Mallorca, curated by Barry Schwabsky

2008 A New High in Getting Low (NYC), John Connelly Presents, New York, NY

Cube Passerby, GBE & Passerby, New York, NY

2007 Regroup, Miguel Abreu Gallery, New York, NY

A New High in Getting Low, Artnews Projects, Berlin

Art | 38 | Basel, Art Premiere (with Cheyney Thompson)

Caisse Blanche (with Cheyney Thompson), Sutton Lane (Campoli Presti), Paris

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

Conditions of Display, The Moore Space, Miami

24 November – 22 December, Sutton Lane (Campoli Presti) Paris

2006 I Never Said Yes (…) (with Michael Krebber), Sutton Lane (Campoli Presti) Paris

Everybody Knows This Is Nowhere, Galerie Asbaek, Copenhagen, curated by Barry Schwabsky

Under Pressure, Art:Concept, Paris, curated by Bill Cournoyer

2005 Dangerous Reflection, S.A.C. Space, Los Angeles, CA

2004 Connect the Dots, Leroy Neiman Gallery, New York, NY

Hungry Eyes, Wallach Gallery, Columbia University, New York, NY

2003 e-flux video rental, e-flux, New York, NY (ongoing and touring)

2002 Access, S.A.C. Space, Los Angeles, CA

2001 Cutting Through Jungle, Erik Oestling Studio, Salt Lake City, UT

2001 New Work, CAC, Aix-en-Provence, France

2000 Group Show, Meyerhoff Gallery, Baltimore, MD

 

SELECTED REVIEWS

2014 Schad, Ed. « Sean Paul at Thomas Duncan », Flash Art, March – April

2013 Martinez. Christina Catherine. “Everything in Its Absence”, ARTslant, November

Russeth, Alex. « Snout to Tail at JTT », Gallerist NY, January 22

2010 Kitnick, Alex. “Sean Paul’s Kammerspiel”, Fillip. Issue 11, Spring

2009 Hafner, Hans-Jurgen. “With the White Ribbon of Sympathy”, Artnet, November

2008 «Sean Paul MMV-MMVI-MMVII», V.1 (Advance), New York, NY

2007 Vetroq, Marcia. «Sean Paul», Art in America, March

«For the People of Paris» Sutton Lane, Paris (cat.)

Gordon, Margery «Artists Pair Off at Art Premiere,» Artinfo.com, June

Turner, Elisa «Conditions of Display,» Miami Herald, June

Weinberg, Michelle, «Conditional Love: Artists Critique the System at Moore Space and Locust Projects,» Miami Sun Post, June 2007

«Conditions of Display» The Moore Space (Catalogue with essay by George Baker)

2006 Lavrador, Judicaël. «Under Pressure», Les Inrockuptibles, #570, October 31

Bauche, Nicolas. «Michael Krebber et Sean Paul», www.paris-art.com, June

«Michael Krebber/Sean Paul», Go Go Paris, no. 13, p.15, June

 

SELECTED AWARDS

2004 Ellen Gelman Fellowship

2003 Brevoort-Eickemeyer Grant

Marshal Glasier Fellowship

2001 Seymour Mandlebaum Fellowship

 

TEACHING POSITIONS

2009 – 11             Faculty, Department of Art History, School of Visual Arts, New York

2005                    Adjunct Professor, Columbia University School of the Arts, Visual Arts Division, New York

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

A Moveable Feast – Part II

03 Oct, 2013-19 Oct, 2013

Campoli Presti, Paris

A Moveable Feast – Part II
Sean Paul
3 – 19 October 2013
Campoli Presti, Paris

The second installment of A Movable Feast is dedicated to the work of New York based artist Sean Paul.

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 box is unfolded and then refolded forming four composites of one, two, four, and six views into a single plane. This plane then becomes the array, which informs the material images’ unfolding into lived space, or a domestic scene.

The traditional nature morte, including memento mori tableau, relies upon the animate, positive concept of nature or life to negatively define itself (life moves, death is static). In opposition to this positive concept of life, these works take their definition and logic from the prolonged movement of death found in commercial advertising, and the systematic combinatory configurations presented to the consumer. What is posited is not that there is still life, but that there is an animate death, a much more lucrative field, in the loss of the object and the investment in its absence.

A detail of a towel’s surface structure is incorporated into another planar structure that includes color, resolution, and gradation guides. Sharpness, broken into two fundamental factors: resolution and acutance, is one category of technical qualification used to discern a digital image’s quality. Resolution has become an ubiquitous concern for anyone operating in the fields of image reproduction. One could argue that Resolution has established itself as a primary category because it is capable of buttressing a kind of social promise of spatial engagement. In other words, if the technologically advanced sectors of the world appear to have passed beyond a state of one-dimensionality, it may be due to the fact that the technological veil has simply gained in resolution (i.e. detail).

Sean Paul (b. 1978 in Salt Lake City, Utah) lives and works in New York. He received a MFA from Columbia University, NY. Recent solo exhibitions include Every Hair of the Bear, Front Desk Apparatus, New York, Sprachbarrierenstrasse, COMA, Berlin, Symposium, Sutton Lane, London. Recent group exhibitions include Avant de Rentrer, Il Faut Incéndier la Maison, Thomas Duncan Gallery, Los Angeles, Blueprints, Hessel Museum of Art, Annandale-on-Hudson, NY, Snout to Tail, JTT Gallery, New York, Standard Operating Procedures, Blum&Poe, Los Angeles, Collatéral, Le Confort Moderne, Centre pour l’Art Contemporain, Poitiers.

24 November – 22 December

24 Nov, 2007-22 Dec, 2007

Sutton Lane (Campoli Presti), Paris

Caisse Blanche

24 Nov, 2007-22 Dec, 2007

Sutton Lane

Sean Paul & Cheyney Thompson
Caisse Blanche

A propos…
De la rue de Braque, de la communication et des relations de Presse

de Jasper Morrison
de Sutton Lane
de Paris
de Basel
de la ratio de 3 sur 4
de l’édition photographique de 16mm gravé sur DVD
de la communication et des relations de l’espace privée

Symposium

11 Oct, 2007-21 Nov, 2007

Sutton Lane (Campoli Presti), London

Art / 38 / Basel Premiere: Sean Paul, Cheyney Thompson

15 Jun, 2007-20 Jun, 2007

Basel

I Never Said Yes – Ambitious Some Things That Didn’t Workout The Taste King Kong Air Guitar Fun & Money

20 May, 2006-17 Jun, 2006

Sutton Lane (Campoli Presti), Paris

Michael Krebber / Sean Paul

I NEVER SAID YES– AMBITIOUS SOME THINGS THAT DIDN’T WORKOUT THE TASTE KING KONG AIR GUITAR FUN & MONEY

20 May – 17 June 2006

Sutton Lane is pleased to announce the two person exhibition of …and … in Paris.

Michael Krebber was born in … in …., . He lives and works in …. Group exhibitions include ….Solo exhibitions include ….

Sean Paul was born in … in …., . He lives and works in …. Group exhibitions include ….Solo exhibitions include ….

For visuals or further information please contact the gallery in London at +44 207 253 85 80 or in Paris at +33 1 40 29 08 92 or send an email to info@suttonlane.com

You The With US

22 Nov, 2005-06 Jan, 2005

Sean Paul
You The With US
22 November – 6 January, 2005

Sutton Lane is pleased to announce the first solo exhibition in London of American artist Sean Paul, You The With US. Working for this show primarily – but not exclusively – with painting, Paul explores the notion of triumph.

One can speak of triumph most obviously, but through the claps of thunder one may whisper the notion of triumph’s failure. One may glimpse it in the night through the glowing heat of raining white phosphorus. Triumph becomes simply a limit, or more truly a territory – a concept made manifest through force. Inoculated by a struggle, what becomes triumphant is the presentation of victory.

The limits created to take refuge within turn against the refugee and imitate it, leaving the refuge to reveal itself as the justification. We are left with a practice “that resists, or aims to resist, serving as the means of reproduction of particular competencies or dispositions.” The exhibition becomes the site of struggles in which what is at stake is the power to impose a definition.

Sean Paul received an MFA from Columbia University, New York this year and is currently included in the internationally touring e-flux video rental.