Moonmilk

Ryan McGinley
Blood Falls, 2008/2009
C-print
66 x 101.6 cms / 26 x 40 ins

Alison Jacques Gallery announces the first UK solo show of acclaimed American artist Ryan McGinley with an exhibition of 24 new colour photographs shot in caves across North America. Over the last year, McGinley and his crew explored huge caves underground, venturing into unknown territory, seeking out spectacular natural spaces, some previously undocumented. The title of the show “Moonmilk” alludes to the crystalline deposits found on the walls of many caves; it was once believed that this substance was formed by light from celestial bodies passing through rock into darkened worlds below.

Excerpt from the Alison Jacques Gallery Press Release September 11 - October 8, 2009

Albert Oehlen

Albert Oehlen

Del ahorro, 2008
Oil and paper on canvas
106 1/4 x 122 inches

In this new group of works, Oehlen paints over, under and around Spanish advertisement posters. The original commercial content of the posters is undermined by Oehlen's reworking of those images as well as his juxtaposition of unrelated advertisements. His interest lies not in the manipulation of pop iconography, but rather in the unnerving emotional effects generated by its obtrusive presence. In contrast with previous work, the use of paint has been reduced, giving focus to the center of the composition and emphasizing the subtle interactions between the paint and the posters. These highly charged paintings eschew formal convention and ultimately advance the medium's function through the artist's continued practice of the deliberate negation of imagery.

Excerpt from the Luhring Augustine Exhibition, APR 25 - MAY 30, 2009

Albert Oehlen
Untitled, 2008
mixed media on paper
11.75" x 8.25"

Albert Oehlen is also exhibiting with Corbett vs. Dempsey in Chicago, May 14 - June 27, 2009

Cy Twombly

Installation view

Each painting comprises four wood panels on which three roses in full bloom are depicted in pulsating colours, ranging from deepest burgundy to tangerine, gold, violet and crimson, set against a background of vibrant turquoise. Inscribed on the last panel of each painting are fragments from Rilke's poem cycle "The Roses." Stanzas scrawled in a gestural mode reflect Twombly's characteristic conflation of painting and poetry, image and word...Some aspects of Twombly's new works recall his earlier cycle of paintings, Analysis of the Rose as Sentimental Despair (1985), now in The Menil Collection, Houston, which also referred to quotations by Rilke, as well as Rumi and Giacomo Leopardi, embracing conceptions of nature dominated by its inevitable demise....

Excerpt from the Gagosian Gallery London exhibition, February 12 - May 9, 2009