Von Lintel Gallery is pleased to announce a solo exhibition of recent paintings by Valerie Jaudon. The exhibition marks the artist’s sixth with the gallery.
Valerie Jaudon’s captivating maze-like paintings are meditations on line, rhythm, duration and structure. Sharp turns, rounded corners and long-running straightaways bypass and interlace across raw linen or impastoed monochrome fields. The articulated forms wind into modules, first drafted as large drawings on paper and then pencil transferred onto either canvas or linen. The modules reverse, replicate and transpose until the entire surface is covered and a path is carved and paved with lush brushstrokes of paint.
The repeating patterns translate into a lexicon that conjures historical art movements: the edges of Geometric Abstraction, the reduced color of Minimalism and the modularity of Systems Art—and literal alphabets.”
A visceral musicality courses through each piece as underscored by form: each point of contact is bordered by a slight reveal of raw linen support for a moment of pause or accent of clarity. And title: Nonet refers to a composition for nine voices or instruments; the namesake painting features the same number of interwoven systems. Or Stretto: the final section of a fugue (originated in the 16th century) when one voice counterpoints another to increase textural intensity. The correlating painting contains two independent, overlapping schematics with contours reminiscent of ornate architecture or ancient calligraphy.
As an artist closely associated with the 1970s Pattern & Decoration movement, Jaudon’s work investigates and experiments outside the boundaries of what was a narrowly mainstream, modernist box.
“Complex in plan, elegant in realization, these paintings relate as clearly to the work of canonical artists like Jasper Johns and Frank Stella as they do to Islamic screens and grilles. Once subversive, they now seem surprisingly classic.”
—-David Frankel, Artforum
Jaudon is included in the collections of over thirty institutions, among them: The Museum of Modern Art, New York; Whitney Museum of American Art, New York; Hirshhorn Museum and Sculpture Garden, Washington DC; National Gallery, Washington DC; Art Institute of Chicago, Chicago; Museum of Fine Arts, Boston; McNay Art Museum, San Antonio; St. Louis Art Museum, St. Louis; Albright-Knox Art Gallery, Buffalo; Städel Museum, Frankfurt, Germany; Louisiana Museum of Modern Art, Humlebaeck, Denmark; Suermondt-Ludwig Museum, Aachen, Germany. The artist lives and works in New York.
Von Lintel Gallery is pleased to announce a solo show of unique tintype photographs by Joni Sternbach culled from the artist’s ongoing series: Surfland. The exhibition, the artist’s first with the gallery, focuses on portraits of female wave-riders on the coasts of the United States, France, Australia and the UK.
Sternbach is a self-described “water woman” and meets her subjects on their way into or out of the water. Due to the nature of her technique, her studio is assembled on the beach and in the world.
The tintype is a wet-plate collodion process that dates back to the 1850s. A metal plate is coated with a silver salt solution, exposed in a large-format camera and developed in a portable darkroom on the spot to produce a direct positive photograph. The hand-poured technique drenches the scenes in creamy tones, tactile markings and a weathered aura.
Sternbach’s subjects are evocatively captured in potent stillness, posed naturally in their suits with their boards, their child, their horse, their tribe. This selection of images pays homage to women in the sport, celebrating and acknowledging them. In the early days of surfing, female surfers were trailblazers, competing in a male dominated sport. Today, women are a force in surfing, conquering waves, respecting the ocean and savoring the shared experience.
Echoing traditions of anthropological portraiture, the individuals (some anonymous, others iconic) transform into totems of modern surf culture. Collectively, the work could be described as an expression of home break—a colloquialism for the place one learned to surf or love the water.
“The surfers, often caught at the end of a session, pose with their boards, looking off to the ocean, into the distance or straight at the camera, sometimes emerging from water rendered smooth and ethereal by long exposures. The images are both creamy and detailed, rippling at the edges like the liquid in which they were formed. Surfing luminaries and elders are treated with the same respect and solemnity as ordinary riders and are mostly identified by only a first name—even if they are named John-John or Gidget.”
—-Diane Cardwell, The New York Times
Sternbach is a native New Yorker. She received a BFA in Photography from the School of Visual Arts and an MA from New York University/International Center of Photography. Her work is included in many public collections including the National Portrait Gallery, London, UK; Nelson-Atkins Museum, Kansas City, MO; and Peabody Essex Museum, Salem, MA. She is the recipient of several grants including the Clarence John Laughlin award and NYFA. Her new monograph Surf Site Tin Type was published by Damiani Editore in March 2015.