Results matching “Drew Daly” from Another Bouncing Ball

Drew Daly, who is exhibiting at the Greg Kucera Gallery through Nov. 14, received an MFA from the University of Washington in 2004. Timothy Brown graduated with the same degree from the UW two years later.

About the impression Daly made in the MFA exhibit at the Henry, I wrote:

Just inside the galleries are two chairs by Drew Daley that aren't chairs at all. Keep looking at them, and they turn into rarified paintings, all scraped down and burnished to a soft green glow. They impersonate the useful as tribute to the uselessly beautiful.

Later I learned that the two chairs started as one chair. By carving it, Daly doubled its presence. That piece:

About Brown I wrote:

Timothy Brown's massive chunk of yellowing resin has four (schoolroom) chairs painted inside it. I love their spindly legs. With their platter tops and the ghostly contrivance of the resin layering, they are memories frozen in time.

That piece:

And more recently:

These artists were familiar with each other's work, at least peripherally, as their studios in the time their schooling overlapped after graduating were in the same building. Only Brown was working with resin.

As part of Daly's current exhibit, he too has turned to resin.

Circulating around town are rumors that Daly plagiarized Brown. About Daly's current show, I wrote:

The dropped ball never hits the floor in Drew Daly's resin sculptures, which are surely a tribute to Jeff Koons' Three Ball Total Equilibrium Tank from 1985 in particular and to Lucas Samaras in general...Daly makes art as if the world were a bellows, breathing in and out. On the exhale, faces, furniture and (most recently) sports equipment pull apart in fragments. On the inhale, they reform, but not necessarily in their original shapes. Two chairs become one, or one becomes two. Twelve fuse as if through an electrical current. A chest of drawers bends and flares. (more)

Brown's work didn't come to mind when writing that review. If it had, I would have been unlikely to mention it. There's a material similarity, but the focus is entirely different, Daly honing in on fracture and Brown on floating sense world memories.

Intentionally or unintentionally, Daly might well have borrowed the idea of resin casts from Brown, but he might also have been thinking of Rachel Whiteread. Art comes from art. What matters is not the what of materials but the how of their use.

In regard to who did what when and thinking strictly of subject matter, don't both artists owe Jack Daws?

Daws' Hollow Reed from 2001:

No.

Does Daly need to acknolwedge Daws' Basketball Watermelon from 2002?

No. Brown deserves a far larger career than he has had to date. Daly did not, however, steal his play or render it invalid.

The dropped ball never hits the floor in Drew Daly's resin sculptures, which are surely a tribute to Jeff Koons' Three Ball Total Equilibrium Tank from 1985 in particular and to Lucas Samaras in general.

Now at the Greg Kucera Gallery is Daly's Visual Fiction.

Float #2, resin and basketball, 2009

Daly makes art as if the world were a bellows, breathing in and out. On the exhale, faces, furniture and (most recently) sports equipment pull apart in fragments. On the inhale, they reform, but not necessarily in their original shapes. Two chairs become one, or one becomes two. Twelve fuse as if through an electrical current. A chest of drawers bends and flares.

Spalding 1, 2 and 3: Cut photographs, glue, Plexiglas

He's his own fun house mirror.

Through Nov. 14. His Web site here.

Even though it's the first Thursday of the month, very few Pioneer Square galleries are opening shows tomorrow night. In the old days, when PS galleries marched in lock step, everybody opened on First Thursday and closed at the end of the month.

That 12-show a year schedule was tough to maintain. Too tough, plus, it didn't allow for the work to sink in. Some galleries drifted toward 6-week shows, and others began to open and close when they felt like it.

But never have so few galleries debuted on First Thursday.

What's there is top of the line. The usual others will be open as well, even though they are nearly all at the end of a run.

Matthew Offenbacher ...

and Tony De Los Reyes...


open at  Howard House.

Also, Tim Roda ...


and Drew Daly ...
open at Greg Kucera. That's all in the way of mainstream galleries. Fortunately, mainstream galleries aren't the only ones in the Square. Soil opens what looks like a fascinating invitational lineup, and Punch is auctioning off its entire group show, $10 per ticket.

I'm in. Among other tempting offerings, the piece below, by Ries Niemi, is calling my name.

Doggie-style perspective isn't above a grade-school joke. The myopic have four eyes. (4-Eyed Dog, Pencil on paper)

Currently at Ambach & Rice, Eric Yahnker draws as if the camera hadn't been invented and he's the unreliable narrator assigned to keep a record. Exactitude is his straight man. He renders tongue, teeth, slack lip, the golden shine on the short hair to set up the punchline.

Another artist who drew this well would stick to drawings, but Yahnker has the nervous energy of a comic on stage. Visual jokes tumble from him. Part of the joke is their production: Serious craftsmanship is essential to being absurd and saves him from the trap of visual one-liners.

Dorothy's trip to bright lights, green city exposed a sham. If she'd read a little Existentialism, would she have bothered to go? Online, the drawing itself is hard to see, but in person, pencil on paper orchestras a drama - soft light pools across the top of her head as shadows curl around her fingers and deepen into the nape of her neck.

Robert Smithson's Mirror Displacement is the source of Yahnker's Analogous To The Fall Of That One Empire (Moby Dick); roughly a million cut-out and alphabetized letters from Moby Dick on 27 mirrored panels (26 for the letters in the alphabet and one more for punctuation).

It's also a tribute to Andy Kaufman, who read The Great Gatsby on stage.(here on YouTube). What to do with a masterpiece? Scholars who analyze cut it up, while cut ups like Yahnker take the process to its literal (and fatal) end.

Less Than Zero to 101 is a shelf full of CDs cassette tapes, LP's, books and magazines whose titles number in order from <0 to 101. Less Than Zero, Absolute Zero, The Beatles 1, Two Dads, 2 1/2 Men, Three Amigos! Four Brothers....7th Heaven, 7th Season, ...12 Monkeys...18-Year-Old Virgin, 26 Gasoline Stations...36 Hours to Die...Around the World in 80 Days to 101 Dalmatians.

Detail:
Yahnker is a maker run deliberately amuck. His methods are rigorous, and his results absurd but not frivolous.

Analogous To The Fall Of That One Empire (Gap Shirt), shirt in which all of the thread has been removed excluding the pinstripe pattern:

Drew Daly did something similar with chairs: Whittling away a sturdy one to produce a pair of barely-there ghosts.Yahnker began unthreading the shirt after Bush was elected for the second time, in 2004. The empire that fell is our own.

When I enter a room, I look for a chair. Almost any room, almost any chair. The assumed context of this expectation is unexamined except through art, where it is frustrated.

Dawn Cerny

David Hockney

Drew Daley


Pat DeCaro

Harriet Saunderson

Sean M. Johnson

Urs Fischer




Roy McMakin

All the classics, from Duchamp and Beuys to Bruce Nauman, at DesignBoom.

At the Frye: The Old, Weird America: Folk Themes in Contemporary Art. Through Jan. 3.

Old, Weird America reviews on this blog: Godforsaken Curios; Margaret Kilgallen owns Main Street; Sam Durant gives thanks, and If Northwest artists had been in The Old, Weird America, it would have been a stronger show.

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