Valerie Snobeck, Fold, 2013, 92 x 139 cm and Kelly Walker, Untitled, 2008, 213,4x412,4cm
Kelley Walker, Untitled, 2008, Four color process silkscreen on canvas with Frankfurter Allgemeine, Montag 28 Januar, 2008, 213,4 cm x 512,4 cm (courtesy private collection)
Valérie Snobeck, Fold, 2013, Partially removed mirror, peeled print on plastic, door barricade brackets, 92 x 139 cm, (courtesy private collection)
Kelly Walker and Josh Smith
Kelly Walker, Black Star Press, 2004, Digital print & silkscreened white, milk and dark chocolate on canvas, triptych, each: 91,4 x 71,1 cm (courtesy private collection)
Kelley Walker, Untitled, 2006 Laser cut steel with digital print, 146 cm diameter
Seth Price, Screens and Christopher Wool, Untitled (P70), 1988
Christopher Wool, Untitled (P70), 1988, alkyd and flash on aluminium, 244x143cm, courtesy private collection
Cheyney Thompson, Extract from CT series and Blake Rayne, Untitled No.8
Cheney Thompson Extract From CT series, 2003 Acrylic on organza, various dimensions
Blake Rayne, Untitled No8, 2007, Acrylic and oil on linen, 142x196cm
Seth Price, Screens, 2009
Seth Price, Screens, 2009, UV-cured inkjet on high-impact polystyrene vacuum- formed over rope, 243.8 x 121.9 cm
Seth Price, Vintage Bomber (clear), 2008 Vacuum formed High-Impact Polystyrene 243.8 x 121.9 cm
Nate Lowman, Don't Tread on Me, 2012, 137 cm x 83 cm and Josh Smith, Untitled, 2006, 152 x 121 cm
Josh Smith, Untitled, 2006, Sponge-painting with acrylic on canvas, 152 x 121 cm
Made in New-York
Opening Hours:
Temporarily closed
1050 Brussels
The exhibition Made in New York brings together works conceived by eight American artists Christopher Wool, John Miller, Kelley Walker, Blake Rayne, Seth Price, Cheyney Thompson, Josh Smith, Nate Lowman and Valérie Snobeck born for the most part between 1970 and 1980 and associated with the New York scene. Their work testifies of the emergence on the American East coast of a new pictorial language questioning the status of the paint and that of the picture, in a time when digital technology upsets the codes of representation.
© Hugard & Vanoverschelde, photography