the press kit - Galerie Les Filles du Calvaire

Transcription

DOSSIER DE PRESSE
JOHN BEECH
Object in Place
Exhibition from September 03rd to 24th 2016
and from October 08th to 22th 2016
17 rue des Filles du Calvaire, 75003 Paris / +33 1 42 74 47 05 / www.fillesducalvaire.com
JOHN BEECH
Exhibition from September 03rd to 24th 2016
And from October 08th to 22th 2016
Opening on Saturday, September 03rd 2016 - 6pm to 9pm
OBJECT IN PLACE
Four years after his first French solo show and
many group shows, Galerie Les Filles du Calvaire
is pleased to exhibit the experimental and formal
work of British-American artist John Beech again.
Here, the gallery revisits abstraction, the art field it
has specialized in over the last 20 years, through
the elegant and impactful mix of its various
defining elements. For this show, John Beech has
spent three weeks in Paris in order to create pieces
made on site
Photo-Print # 8, 2015
Paper size : 90.2 x 76.8 cm
Print size: 63.5 x 50.8 cm
Each Photo-Paintings hanging on the walls
combines two temporalities. First, there is the

temporality of the photograph taken by the artist,
and then the one of the pictorial gesture, which
consists in adding another layer on the surface of
the image. The photograph is therefore no longer
meant to inform. On the contrary, it throws spectators off, and the content of
the image (industrial volumes in urban spaces, dumpsters, containers etc.) is
overshadowed by the space and volume of the paint itself. The mix of these
two media creates a hybrid visual language which toys with our perception
of images and the unpredictable nature of pictorial and screen printing
intervention. The artist adds to the industrial process of screen printing by
using tires, wire fences, and other manufactured items such as carpets or
thermoplastic to blur the surface1.
Whether in his photo-paintings, tape-drawings, coated-drawings,
print-drawings or paintings, John Beech practices an intrusive form of

abstraction through more or less wide colored flat tint areas, which sometime
totally cover up the original image. This gesture is both ambiguous and
disconcerting: the artist alters and disrupts the image’s readability, while at
the same time recomposing its aura as a unique piece. Sometime, he goes
as far as to entirely cloak the photograph to get a monochromatic surface:
the image then only exists through the depth of its layered material. In his
sculptures, abstraction is not simply represented; it is embodied through the
volume of the industrial objects that the artist’s sculptures reference (Containers, Rolling Platforms, Blocks etc.).
1
These elements can later become sculpture-paintings of their own.
By associating abstraction and figuration,
and alluding to familiar shapes and multiple
references, John Beech shows his capacity

to renew abstraction. With the negation of
frontiers between painting and sculpture,

shape and color, volume and flatness, medium
specificity2 is revealed as a relative truth.
Rolling Platform (Light Blue), 2015
110 x 122 x 121.5 cm
Oil Enamel, Aluminum,
Enamel, Pencil, Wood Glue,
Plywood, Casters
This sentence by John Beech: “The connecting
link between my approaches is an emphasis
on the physical presence of the materials
used, in works that shed new light on the overlooked objects and architectural elements of
the urban setting” echoes Rauschenberg’s: “I
don’t want a picture to look like something it
isn’t. I want it to look like something it is. And
I think a picture is more like the real world when it’s made out of the real
world”. While John Beech’s creations show a strong influence of art history
and American abstraction, they also go beyond artistic categorizations.
The utilitarian function of his assembled pieces or of the industrial objects
he takes in picture highlight the relation of his work to our daily life. Walking in Rauschenberg footsteps, John Beech plays with the trivial nature of
the material he uses. While he does reveal their creative potential, he also
preserves their raw nature by consciously limiting his artistic intervention.
By reintroducing material and space inside the gallery, John Beech’s artworks
and installations seek to interact with us by disrupting our common perceptions. They do not put distance or create a sacred aura around them. Instead,
they stand out by their simplicity and modesty. This minimal presence gives
rise to an eloquent and original artistic language. Beech’s approach could
very well recall some of the views defended by Harald Szeemann during his
historic exhibition entitled “When attitudes become form: live in your head
». The artist’s true conceptual freedom and minimalist approach delicately
arise from his basic shapes and “trash” gesture.
Sébastien Borderie
2
Clément Greenberg, Toward a new Laocoon, Partisan Review, 1940
Paper size: 90.2 x 76.8 cm
Print size: 63.5 x 50.8 cm
Paper size: 76.8 x 90.2cm
Print size: 50.8 x 63.5cm
Photo-Painting # 66, 2014
198 x 305 x 5 cm
Oil Enamel, B/W RC Photograph, Adhesive,
Canvas on Wooden Panel
Photo-Painting # 67, 2014
198 x 305 x 5 cm
Oil Enamel, B/W RC Photograph, Adhesive,
Canvas on Wooden Panel
John BEECH
Born in 1964 in Winchester, England
EDUCATION
1986
B.A., University of California, Berkeley, Californie, USA
SOLO EXHIBITIONS
2016
2015
2014
2012
2011
2010
2009
2008
2007
2006
2005
2004
2003
2002
2001
2000
1999
1998
1996
1995
1994
1993
Object in Place, Galerie Les filles du calvaire, Paris, France
Frieze New York, Peter Blum, New York
M&R Fricke Gallery, Berlin, Germany
Haus Der Kunst St.Josef, Solothurn, Switzerland
John Beech: Small Wall Objects,Concept Space, Shibukawa, Gunma, Japon
Time Expanded, Charlotte Jackson Fine Art, Santa Fe, New-Mexico, USA
The Space Surrounding, Peter Blum Soho, New York, New York, USA
Likelihood / Unlikelihood, Galerie Les Filles Du Calvaire, Paris, France
85-87 FBG. St. Martin (with Galerie Les Filles Du Calvaire), Paris, France, 10. 2011
Door to the Window, Haus Der Kunst, Solothurn, Switzerland, 10-12. 2011
John Beech, A Selection of Recent Work, Elizabeth Leach Gallery, Portland, Oregon
John Beech, Portland Art Museum, (Curator: Bruce Guenther) Portland,USA
The State of Things, Peter Blum Chelsea, New York, New York
John Beech: Works for a Wall, Galerie Gisèle Linder, Basel, Switzerland
Incidents: Drawings and Sculpture, Galeria La Caja Negra, Madrid
John Beech & John Zurier, Gallery Paule Anglim, San Francisco, California
Obscure / Reveal, John Beech & Edward Albee, Peter Blum Soho, New York,
Nohow, CCNOA, Brussels, Belgium
That and This: New Work, Peter Blum Chelsea, New York, New York
Galerie Gisèle Linder, Basel, Switzerland
John Beech New Work, Gallery Paule Anglim, San Francisco, California
John Beech: Project Space, G Fine Art, Washington D.C.
John Beech New Work: Sculpture and Drawings, Howard Yezerski Gallery, Boston,
Massachusetts
Recent Sculpture and Large Scale Drawings, Peter Blum, New York, New York
New Sculpture made on Site and Drawings, Galerie M+R Fricke, Berlin, Germany
John Beech Works 1989 – 2004, Stiftung für Konkrete Kunst, Reutlingen, Germany
John Beech from the Collection, Albright-Knox Art Gallery, Buffalo, New York
John Beech New Work, Charlotte Jackson Fine Art, Santa Fe, New Mexico
John Beech – New Sculptures and Paintings (with John Meyer – Drawings),
Galerie Gisèle Linder, Basel, Switzerland
Peter Blum, New York, New York
Archive Inc. Gallery, Toronto, Ontario, Canada
Brooklyn Container, Brooklyn Central Public Library, New York
(+ Collaborative Drawings 1998 –2003 with Simon Lee and Christopher Lesnewski)
Charlotte Jackson Fine Art, Santa Fe, New Mexico
Rotating Paintings, Gallery Paule Anglim, San Francisco, California
John Beech: New Work, Stark Gallery, New York , New York
Alexander Nagel, Toronto, Ontario, Canada
Built on Site, TD156, San Francisco, California
Petra Bungert Projects / CCNOA, Brussels, Belgium
Gallery Paule Anglim, San Francisco, California
The Locker Plant, The Chinati Foundation, Marfa, Texas
Smith Andersen Editions, Palo Alto, California
Angles Gallery, Santa Monica, California
17 rue
des Filles duCrosby
Calvaire,
75003New
ParisYork,
/ +33New
1 42 74
47 05 / www.fillesducalvaire.com
Miles
Bellamy-113
Street,
York
1989
Southern Exposure Gallery, San Francisco, California
GROUP EXHIBITIONS
2016
2015
2014
2013
2012
2011
2010
2009
2008
Dumbball: David Ireland and his Circle, Anglim Gilbert Gallery, San Francisco, California
Kabinettstücke / Sammlung Gabriele Kuebler, Stiftung für Konkrete Kunst, Reutlingen,
Germany
Peter Blum Edition: Books and Prints, Peter Blum, New York, New York, USA
Retrospective Paule Anglim 1923- 2015, Gallery Paule Anglim, San Francisco, California
Quand fondra la niege, où ira le blanc, (Curator: Bernard Marcelis), Galerie Les Filles du
Calvaire, Paris, France
Concrete Post 3, raum2810, Bonn, Germany
Concrete Post 2, (Curator: David Thomas), PSSR Gallery, RMIT University,
Melbourne,Victoria, Australia
CCNOA 30/30 Image Archive Project: A Collective Collection A/B/Contemporary,
Zürich, Switzerland
Brasserie, Haus der Kunst St. Josef, Solothurn, Suisse
Histoires et Géographies: Acquisitions récentes du Frac Bretagne, Frac Bretagne,
Rennes, France
Coluna 2, Vienne, France
Unruly, Berkeley Art Museum, Berkeley, Californie, USA
Six Memos for the Next…, Magazin 4 Bregenzer Kunstverein, Bregenz, Autriche
Art on Paper 2012, Weatherspoon Art Museum,
University of North Carolina, Greensboro, North Carolina
Pink, Charlotte Jackson Fine Art, Santa Fe, New Mexico
Virtual Insanity, Fiedler Taubert Contemporary, Berlin, Germany
Drawing a Line in the Sand, Peter Blum, New York, New York
Eretai Riverside Art Museum, Riverside, California
Fifty Years of Bay Area Art: The SECA Awards, San Francisco Museum of Modern Art, San
Francisco, California, USA
The Long Curve. 150 years of Visionary Collecting at the Albright-Knox Art Gallery,
The Albright-Knox Art Gallery, Buffalo, New York
Carte Blanche à Clare Kenny: Odds and Ends, Galerie Gisèle Linder, Basel, Switzerland
Paper Variables, Dieu Donné, New York, New York
John Beech & Kathrin Kunz, Galerie Gisèle Linder, Basel, Switzerland
Thirty Years of Collecting: A Recent Gift to the Museum, Scottsdale Museum of
Contemporary Art, Scottsdale,
Arizona
Human Rites, (Curator Silvia Karman Cubïná & Steve Holmes) The Bass Museum of Art,
Miami Beach, Florida
Living in Two Worlds, Charlotte Jackson Fine Art, Santa Fe, NM
The Artist & The Photograph, (Curator: Clare Kenny), Ausstellungsraum Klingental, Basel,
Switzerland
Metropolis, Galerie M & R Fricke, Berlin, Germany
Reflection, Peter Blum Soho, New York, New York
My Eyes Keep Me in Trouble, (Organized by CCNOA, Brussels), La Station, Nice, France
Quantos Queres, Marz-Galeria, Lisbon, Portugal
Des Mondes Voisins, Galerie Gisèle Linder, Basel, Switzerland
Common Ground: Color, Charlotte Jackson Fine Art, Santa Fe, New Mexico
Glissements de Terrain, Galerie Les Filles du Calvaire, Paris
30 x 30 cm Project, Mcnay Art Museum, San Antonio, Texas
Yellow, Galerie Gisèle Linder, Basel, Switzerland
Projet 25 une exposition pour Gisèle, (Curator: Friederike Stangier), Galerie Gisèle Linder,
Basel, Switzerland
Art Unlimited 10, Art Basel 40, Basel, Switzerland
PS 1999-2009, PS, Amsterdam, The Netherlands
Prints,’ Galerie Gisèle Linder, Basel, Switzerland
Miniaturization, Galerie Gisèle Linder, Basel, Switzerland
Paper, Galerie Gisèle Linder, Basel, Switzerland
Begin Again Right Back Here, (Curator: B.Wurtz), White Columns, New York, New York
Summer
2008,
Gisèle
Linder,
17 rue des
FillesGalerie
du Calvaire,
75003
ParisBasel,
/ +33 Switzerland
1 42 74 47 05 / www.fillesducalvaire.com
Works on Paper: The Natalie and Irving Forman Collection,’ Albright-Knox Art Gallery,
Freedman, Matt, “Here & Now,” Exhibition Catalogue essay, 4.1998
Graduation Exhibition,
(John Beech,
deTema
Guzman,
Oriane
Stender) The White Room,
Damianovic,
Maia, “Painting
Beyond René
Limits,”
Celeste,
4.1997
University
of
California,
Bensley, Lis, “John Beech & James Hyde,” Santa Fe New Mexican Pasatiempo, 6.7.1996
Berkeley,
California
Smith,
Roberta,
“Corcoran Biennial,” New York Times, 12.1995
Baker, Kenneth, “Details Know Their Importance,” San Francisco Chronicle, 12.5.1995
Bonetti, David, “John Beech at Paule Anglim,” San Francisco Examiner, 12.1.1995
AWARDKelley,
/RESIDENCIES
Jeff, text for Corcoran Biennial Catalogue, 12.1995
Sultan, Terrie, “Off the Wall and Beyond the Frame,” Catalogue essay “44th Biennial
1999 The
Pollock-Krasner
Foundation
AwardPainting, The Corcoran Gallery.” 11.1995
Exhibition
of Contemporary
American
1998 The
Chinati
Foundation,
Residency,
Texas
Taplin,
Robert,
“John Beech
at MilesMarfa,
Bellamy,”
Art in America, 2.1995
1992
SECA
Award,
San
Francisco
Museum
of
Modern
Art,San
SanFrancisco
Francisco,Chronicle,
California11.10.1993
1993 Baker, Kenneth, “Sculpture With Poise and Humor,”
1985 Maybelle
Toombs
Award
for Practice
of Art, 11.4.1993
University of California, Berkeley
Roby, Dianne,
“Beech
at Anglim,”
Artweek,
Baker, Kenneth, “Things Good From Spectator’s View,” San Francisco Chronicle,
3.14.1993
PRINT MAKING
PROJECTS
/ EDITIONS
Bonetti, David,
“Mills
College,” San Francisco Examiner, 3.12.1993
1992 Watten, Barrett, “Cultural Strategists: 1992 SECA Art Award at SFMOMA,” Artweek,
2016
Sides,' Edition of 15 painted seven inch vinyl records and sleeves
11.5.1992
Prints
of David,
Darkness
Printshop,
LongExhibit,”
Island City,
NY
Bonetti,
“SFMOMA
SECA
10.1992
2015 Prints
of
Darkness
Printshop,
Long
Island
City,
NY
Baker, Kenneth, “John Beech at Upaya,” ARTnews,
9.1992
2014 Smith
Palo Alto,
California
Baker,Andersen
Kenneth, Editions,
“SECA Award
Show,”
San Francisco Chronicle, 9.27.1992
Subway
– 1999,
Portfolio
of 6) ofSECA
9 color
taken in the
Caldwell,Plywoods,
John and1998
Bishop,
Janet,
essay (Edition
and interview,
Artphotographs
Award Catalogue,
NY
City
Subway
system
San Francisco Museum of Modern Art, 9.1992
2013 ‘Lone
Rail,’
Arber
and Son
Editions,
Texas
Zyzzyva
Literary
Journal,
cover
+ 27 Marfa,
pages of
drawings reproduced, summer 1992
2012 The
Space
Surrounding,
Book
with
reproductions
of 31 Collages made while traveling in
Fazzolari, Bruno, “Auto Conceptual,” Artweek, 5.21.1992
India
and
17
b/w
photographs,
Peter
Blum
Edition,
NewSan
YorkFrancisco Chronicle, 4.27.1992
Baker, Kenneth, “John Beech Builds a Show at Upaya,”
2011
Donné,
New
York,
New York
1991 Dieu
Porges,
Maria,
“San
Francisco
Fax,” Artissues, 11.1991
2010 Smith
Andersen
Editions,
Palo
Alto,
California San Francisco Examiner, 9.17.1991
Bonetti, David, “Door-Opening Readymade,”
2008 Obscure
/ Reveal,
with
Edward
Albee, Peter
Blum Edition,
Levi-Strauss,
David,Book
“John
Beech,”
California
Magazine,
9.1991 New York
2007 Tin
Container
Series
Edition,
Arber
and
Son
Editions,
Marfa,
Texas
Nyo, Paula, “No Pencils, Selections Bay Area Drawing,” Artweek, 5.1991
2001 LaPalma,
Dumpster Marina,
Template
Monotypes,New
Smith
Andersen
Editions,
“(Con-Text),”
Art
Examiner,
3.1991 Palo Alto, California
Print’
Edition,Art
Smith
Andersen Winter
Editions,
Palo Alto, California
1990 Car-Mat
Levy, Mark,
“Evans,”
International,
1990
1993
Smith
Andersen
Editions,
Palo
Alto,
California
1989 Baker, Kenneth, “Promising Debut of John Beech,” San Francisco Chronicle, 7.29.1989
1986
1997
1996
1995
BIBLIOGRAPHY
PUBLIC
COLLECTIONS
2016
Hoffmann,
Annette,Buffalo,
'Aller Anfang
ist Grau,' Basler Zeitung, Basel, Switzerland, 6.25.2016
AlbrightKnox Art Gallery,
New York
2015
Prasentation
des
neuen
Buches
John
Beech, AZCalifornia
Solothurn, 6.23.2015
San Francisco Museum of Modern Art, San Francisco,
2014
Babics,
Michael,
'John
Haus
derReutlingen,
Kunst St.Josef,'
Kunst Bulletin,10.2014
Manfred
Wandel
/ Stiftung
furBeech:
Konkrete
Kunst,
Germany
Buhrfeind,
Eva,
'Der
Ausstellungsraum
als'
Atelier
und
Ort
der Inspiration,'
Oakland Museum, Oakland, California
AZ
Median
Der
Sonntag
#
37,
9.2014
San Jose Museum of Art, San Jose, California
2012
Irwin,
Expanded,’
Art Ltd, 11.2012
University
ArtMatthew,
Museum, ‘Time
Berkeley,
California
Nathan,
Emily,
‘John
Beech:
The
Space
Laguna Art Museum, Laguna Beach, CaliforniaSurrounding,’ Artnet.com, 4.2012
2011 ‘Hybrid
Drawings,’
Azurebumble.wordpres.com, 12.22.2011
Museum
of Art,Dumpster
Fort Lauderdale,
Florida
Goodman,
Jonathan,
‘John
Beech at
Peter Blum Gallery,’ Sculpture Magazine, 11.2011
de Saisset
Museum,
Santa Clara
University,
California
Buhrfeind,
Eva,
‘Extra
fur
dieses
Haus
geschaffen,’
AZ Median Der Sonntag # 41, 10.16.2011
The Martin Z.Margulies Collection, Miami, Florida
Kunstmuseum, Basel, Switzerland
Microsoft Corporation, Seattle, Washington
Sidley and Austin, New York, New York
Pfizer Corporation, New York, New York
Bank of America, Los Angeles, California
Robertson Stevens & Co., San Francisco, California
Roche, Switzerland
Swiss Re, New York, New York
KFW Bank, Frankfurt / Berlin, Germany
Shoes or no Shoes? Ghent, Belgium
SELECTED PRIVATE COLLECTIONS
Edward Albee, New York, New York
Pamela17
Anderson,
Losdu
Angeles,
California
rue des Filles
Calvaire,
75003 Paris / +33 1 42 74 47 05 / www.fillesducalvaire.com
Agnes Bourne, San Francisco, California