19 – 29 July, 2007
Seung Ah is a friend from Goldsmiths, who completes her MA in Interactive Media this year. She is currently showing with fellow student Joe Stevens at the APT Gallery in Deptford, which is not too far away from where I live. It was a beautiful, warm evening last night so I walked down to see them at the opening.
Some friends of mine have been having a hard time understanding the comments I made about Jeff Jahn’s review of Bryan Schellinger’s show at Quality Pictures in Portland, Oregon. So I thought I’d take the opportunity to retrace my steps and provide an overview of the discussion, such as it is.
Sunday-week (22 July) is a bit of a Patrick Keiller-fest at the tate Modern*.
Two of Keiller’s films are being shown that afternoon, “London” at 1pm and “Robinson in Space” at 3pm. I have both these on DVD so I won’t bother going to see them, but I would heartily recommend them to everyone.
The DVD cover
Then at 6pm the man himself is presenting a lecture about his work.
Bryan Schellinger seems to be embarking on a similar pragmatic journey away from Barnett Newman’s Onement by complicating his stripe paintings with all sorts of associations, including a false sense of perspective space, allusions to textiles and possibly abstracted veils of drizzling rain? Yet, despite these complications they are essentially process driven formal experimentations. As a painter having it both ways; both purely painterly and complicated through intervening elements is the fence to ride these days.*
Jeff Jahn’s analysis of the work of Bryan Schellinger on the PORT blog struck me immediately as being applicable to the work of Tomma Abts, presented for the Turner Prize show last year.
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