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| Alexander and Bonin |
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Self Portraits
Group exhibition: John Ahearn, Matthew Benedict, Jennifer Bolande, Bordo Robert, Willie Cole, Eugenio Dittborn, Willie Doherty, Mona Hatoum, Paul Etienne Lincoln, Ree Morton, Sylvia Plimack Mangold, and Paul Thek.
The works in the exhibition were executed in a variety of materials and range in date from 1970-2001.
A realist mode of working is represented in the sculptures of John Ahearn, the works on paper of Sylvia Plimack Mangold and, surprisingly, the pencil drawings of Paul Thek. Ahearn is well known for his portrayal of individuals living in the South Bronx and East Harlem. Plimack Mangold, who has always painted her wood floors and trees from observation, will exhibit self-portraits executed in watercolor, pencil and etching. Thek’s self-portraits date from 1970 and were drawn on the Italian island of Ponza. The Ponza works are often landscapes, studio interiors and portraits; many of which were made in his earliest notebooks and sketchbooks.
The exhibition will include abstract approaches to portraiture. Robert Bordo has painted an almost monochrome canvas conforming to the size of his body and embellished with subtle references and hints at narrative. Ree Morton’s celastic arch, Maternal Instincts, abstractly depicts her presence embracing three small ribbons each bearing the first initial of her children.
Matthew Benedict, Eugenio Dittborn and Paul Etienne Lincoln are inspired by literary and historical sources. Benedict has painted several large-scale portraits of Saints as well as depictions of characters in literature. A large subset of Dittborn’s Airmail Paintings is a group of work known as the History of the Human Face in which he juxtaposes images of faces drawn from anthropology, criminology, psychiatry and literary or historical illustration. Lincoln portrays Mme de Pompadour and Rosa Ponselle, both of whom inspired complex installations.
Jennifer Bolande, Willie Cole, Willie Doherty and Mona Hatoum’s works in this exhibition are all photographic. Bolande scans several of her own photographs into a computer and creates a unique grid of self-referential imagery. Cole has made two mirror images of his face by doubling one side to create two abstracted but symmetrical views. Each of these photographs is back-mounted onto a piece of glass sandblasted with a pattern of steam iron holes. Hatoum will show a group of her recent Static Portraits, large format polaroids which combine electricity and portraiture.
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Clown
John Ahearn
1999
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