Miami Beach: Zarouhie Abdalian, Simon Denny, Jessica Dickinson, Liam Everett, Matt Keegan, Koak, Shinpei Kusanagi, Devin Leonardi, Trevor Paglen, Will Rogan, Sara VanDerBeek

Nov 23 - Dec 4, 2021
    • Shinpei Kusanagi Kingdom, 2021 Acrylic on canvas 25 5/8 x 21 in 65.5 x 53 cm
      Shinpei Kusanagi
      Kingdom, 2021
      Acrylic on canvas
      25 5/8 x 21 in
      65.5 x 53 cm
    • Shinpei Kusanagi Come Again, 2020 Acrylic on canvas 63 7/8 x 51 3/8 in 162.1 x 130.5 cm
      Shinpei Kusanagi
      Come Again, 2020
      Acrylic on canvas
      63 7/8 x 51 3/8 in
      162.1 x 130.5 cm
  • Utilizing a technique reminiscent of traditional Japanese nijimi, Kusanagi stains untreated canvas with layers of translucent color. Incorporating improvisational brushstrokes...
    Shinpei Kusanagi, Come Again (detail), 2020

    Utilizing a technique reminiscent of traditional Japanese nijimi, Kusanagi stains untreated canvas with layers of translucent color. Incorporating improvisational brushstrokes in vivid hues, the compositions hover on the surface and then recede into deep space. 

     

    Kusanagi’s landscapes evoke familiar urban and natural scenes, such as sidewalks, windows, trees, foliage and flowers, clouds, and the sea. Yet, they simultaneously ask viewers to imagine an unknown “elsewhere” that expands outside our world. His atmospheric washes of color leave the paintings devoid of specific detail, conjuring expansive memories of time and place.

    • Shinpei Kusanagi Remark, 2021 Acrylic on canvas 39 3/8 x 28 5/8 in 100 x 72.7 cm
      Shinpei Kusanagi
      Remark, 2021
      Acrylic on canvas
      39 3/8 x 28 5/8 in
      100 x 72.7 cm
  • 'I was thinking about the beauty in the sensations of seeing partially - not being able to see all of...
    Jessica Dickinson, From-Under, 2021

    "I was thinking about the beauty in the sensations of seeing partially - not being able to see all of a situation when parts are under, beneath, or buried - yet comprehending the gravity of an unclear history of events."

     

     Jessica Dickinson

  • 'While slowly developing the paintings over extended periods of time, I work on distinct but overlapping drawing projects that connect...

    Jessica Dickinson, remainder: From-Under 1, 2021

    "While slowly developing the paintings over extended periods of time, I work on distinct but overlapping drawing projects that connect to these works. Every time the surface of the paintings changes significantly, a graphite impression is made to transcribe the surface. As sedimentary events, the [remainders] materialize forms within the paintings that have become invisible, partial, or erased."

     

     Jessica Dickinson

  • For message (lower parts) ii and message (lower parts) iii, Zarouhie Abdalian presents the anatomy of a firearm, cast in...

    For message (lower parts) ii and message (lower parts) iii, Zarouhie Abdalian presents the anatomy of a firearm, cast in cement and rubbed with graphite, in a way that reads as a kind of code transmitted in relief.

    • Zarouhie Abdalian message (lower parts) ii, 2021 Gypsum cement, graphite 11 3/8 x 14 3/4 x 1 5/8 in 28.9 x 37.5 x 4.1 cm
      Zarouhie Abdalian
      message (lower parts) ii, 2021
      Gypsum cement, graphite
      11 3/8 x 14 3/4 x 1 5/8 in
      28.9 x 37.5 x 4.1 cm
    • Liam Everett Untitled (rhizobium fix), 2021 Ink, oil, sand and graphite on primed linen 59 x 37 in 149.9 x 94 cm
      Liam Everett
      Untitled (rhizobium fix), 2021
      Ink, oil, sand and graphite on primed linen
      59 x 37 in
      149.9 x 94 cm
  • Liam Everett’s painting practice, while formally abstract, is deeply rooted in the language of natural light, the scale of the...

    Liam Everett, Untitled (rhizobium fix) (detail), 2021

    Liam Everett’s painting practice, while formally abstract, is deeply rooted in the language of natural light, the scale of the Northern California landscape, and the shifting conditions of the environment within his studio. 

    • Liam Everett Untitled (before the soothsayer), 2021 Ink, oil, sand and graphite 79 x 60 in 200.7 x 152.4 cm
      Liam Everett
      Untitled (before the soothsayer), 2021
      Ink, oil, sand and graphite
      79 x 60 in
      200.7 x 152.4 cm
  • 'I have begun to view painting as a flexible topography, one that discloses the subtleties of being with a high...

    Liam Everett, Untitled (before the soothsayer), 2021

    "I have begun to view painting as a flexible topography, one that discloses the subtleties of being with a high level of transparency. Enabling this way of seeing is the practice of practice in which the solo contingency is movement, even when the image presents itself in stillness."

     

    — Liam Everett

  •  

     

  • “These images of clouds are taking the idea [of] literally looking at the cloud. They are images that have been...
    Trevor Paglen, CLOUD #246 Hough Circle Transform, 2019

    “These images of clouds are taking the idea [of] literally looking at the cloud. They are images that have been run through algorithms but when you apply these systems to clouds they are not designed for that so they kind of freak out.”

     

     

    — Trevor Paglen, Interview with Kristen Knupp, 2019

  • Trevor Paglen’s work deliberately blurs lines between science, art, journalism, and other disciplines to construct unfamiliar yet meticulously researched ways...
    Trevor Paglen, Bloom (#52392e), 2020

    Trevor Paglen’s work deliberately blurs lines between science, art, journalism, and other disciplines to construct unfamiliar yet meticulously researched ways to see and interpret the world around us. 

     

    The overwhelming majority of images are now made by machines for other machines and exist as data never intended to be read by human eyes. Paglen’s photographs delve into this contemporary condition and raise questions about the implications of this shift towards ways of seeing promulgated by technology. 

    • Koak June, 2021 Flashe, acrylic, oil, graphite, chalk, pastel, charcoal, casein on canvas 77 1/2 x 62 in 196.8 x 157.5 cm
      Koak
      June, 2021
      Flashe, acrylic, oil, graphite, chalk, pastel, charcoal, casein on canvas
      77 1/2 x 62 in
      196.8 x 157.5 cm
  • Engaging hierarchies of gender as well as form, Koak interrogates commonly held cultural assumptions defining women as passive objects of...
    Koak, June, 2021

    Engaging hierarchies of gender as well as form, Koak interrogates commonly held cultural assumptions defining women as passive objects of desire. 

     

    Drawing on the visual vocabulary of comics, Koak’s exquisite technique allows her mark-making to appear beautifully effortless, but is in fact the result of a rare type of generous and hand-made master craftsmanship.

     

    • Sara VanDerBeek Cycladic, Louvre, 2021 Dye sublimation print mounted on aluminum, acrylic paint 24 x 18 in 61 x 45.7 cm
      Sara VanDerBeek
      Cycladic, Louvre, 2021
      Dye sublimation print mounted on aluminum, acrylic paint
      24 x 18 in
      61 x 45.7 cm
  • “This sense that there is a quality of impermanence to our progress [as women] leads me to photography. Specifically I’m...
    Sara VanDerBeek, Cycladic, Louvre (detail), 2021
     

    “This sense that there is a quality of impermanence to our progress [as women] leads me to photography. Specifically I’m referring to its expansive and elastic nature, its space for experimentation and its ‘democratic’ nature.”

     

     

    — Sara VanDerBeek, “On Defiance: Experimentation as Resistance,” Aperture, 2016

    • Sara VanDerBeek Mexican, Musee Quai Branly, 2021 Dye sublimation print mounted on aluminum, acrylic paint 24 x 16 in 61 x 40.6 cm has signed label
      Sara VanDerBeek
      Mexican, Musee Quai Branly, 2021
      Dye sublimation print mounted on aluminum, acrylic paint
      24 x 16 in
      61 x 40.6 cm
      has signed label
    • Will Rogan Smoker 3, 2021 Enamel, spray paint, brass, and book page on found wood 35 x 13 1/2 in 88.9 x 34.3 cm
      Will Rogan
      Smoker 3, 2021
      Enamel, spray paint, brass, and book page on found wood
      35 x 13 1/2 in
      88.9 x 34.3 cm
    • Will Rogan Fall 2021, 2021 Wood, paint, nails 18 x 19 in 45.7 x 48.3 cm
      Will Rogan
      Fall 2021, 2021
      Wood, paint, nails
      18 x 19 in
      45.7 x 48.3 cm
  • Focusing on nature, Will Rogan entangles his work with organic elements and ecological processes, rejecting culture's standards for quantifying and...

    Will Rogan, Fall 2021 (detail), 2021

    Focusing on nature, Will Rogan entangles his work with organic elements and ecological processes, rejecting culture's standards for quantifying and tracking time and instead celebrating the varying timelines found in nature; from the duration of a season, to the eons of the polar ice caps.

    • Shinpei Kusanagi The Rests, 2021 Acrylic on canvas 51 1/8 x 63 3/4 in 130 x 162 cm
      Shinpei Kusanagi
      The Rests, 2021
      Acrylic on canvas
      51 1/8 x 63 3/4 in
      130 x 162 cm
    • Shinpei Kusanagi We go home, 2021 Acrylic on canvas 63 3/4 in x 51 1/8 in 162 x 130 cm
      Shinpei Kusanagi
      We go home, 2021
      Acrylic on canvas
      63 3/4 in x 51 1/8 in
      162 x 130 cm
  • Matt Keegan’s interdisciplinary practice explores the relationship between image, language, cognition, and identity. His work examines the ways in which...
    Matt Keegan, Circulatory (RWB), 2021

    Matt Keegan’s interdisciplinary practice explores the relationship between image, language, cognition, and identity. His work examines the ways in which language, while bound to specific cultural and historical circumstances, is always shifting along with our changing ideas and positions.

     

    In this suite of new work, Keegan meticulously extracted individual items for sale — their prices prominently displayed — from weekly grocery advertisements, organizing them into an intuitive associative system of his own invention.

  • For this body of work, Simon Denny repurposes Margaret Thatcher’s scarves as a sculptural material to create knock-off, bespoke “power”...
    Simon Denny, Power Vest 6, 2020

    For this body of work, Simon Denny repurposes Margaret Thatcher’s scarves as a sculptural material to create knock-off, bespoke “power” vests. These sociopolitically loaded forms, which have become the de facto uniform of tech and finance culture, are reworked to elicit discourse around community, individualism, neoliberalism, and visibility. 

  • In 2018, Amazon filed a patent for the construction of a warehouse worker’s cage designed to confine an employee as...
    Simon Denny, Document Relief 5 (Amazon Worker Cage Patent), 2019

    In 2018, Amazon filed a patent for the construction of a warehouse worker’s cage designed to confine an employee as the cage is remotely steered by an algorithmic system. Denny models components of the patent renderings, intricately cutting their contours and glueing layers of printed pages to strike a balance between form, information, and graphic.

  • “Of all the contradictions that define modern life, none seems more persistent than the growing sense that everything is getting...
    Devin Leonardi, Two Friends on the Shore of Long Island, 2009 - 2020

    “Of all the contradictions that define modern life, none seems more persistent than the growing sense that everything is getting worse at the same time that our technological and material conditions are getting better.” — Devin Leonardi


    This reproduction print is based on Leonardi’s seminal painting from 2009, Two Friends on the Shore of Long Island, which was inspired by found historical photographs. Leonardi situates his subjects amidst both the vastness of a landscape lost in time and the close gaze of the camera that has preserved their likeness.

  • For more information contact info@altmansiegel.com or 415.576.9300.