{"id":2506,"date":"2013-12-10T01:00:58","date_gmt":"2013-12-10T06:00:58","guid":{"rendered":"http:\/\/kolajmagazine.com\/content\/?p=2506"},"modified":"2013-12-05T17:26:38","modified_gmt":"2013-12-05T22:26:38","slug":"llyn-foulkes-new-museum-2","status":"publish","type":"post","link":"https:\/\/kolajmagazine.com\/content\/content\/articles\/llyn-foulkes-new-museum-2\/","title":{"rendered":"Llyn Foulkes at New Museum, New York"},"content":{"rendered":"

\"Llyn<\/p>\n

Llyn Foulkes at the New Museum, New York
\nExhibition Review by Luigi Galimberti Faussone<\/p>\n

This extensive career retrospective features over one hundred works covering, in chronological order, the extraordinary development of Llyn Foulkes\u2019 artistic production. From the early cartoons that he sketched on paper in his teens, to the latest three-dimensional compositions, the exhibition also includes his abstract expressionist drawings, photo collages and pop art oil paintings.<\/p>\n

Although the over-crowded walls and narrow rooms may easily confuse the viewer with an excess of visual stimuli, the exhibition has the undeniable merit of finally making the work of the Los Angeles artist known to a wider public. Despite a few recent highlights\u2014notably his appearance in the 2011 Venice Biennale and in Kassel\u2019s Documenta 13 last year\u2014Foulkes\u2019 work has remained somewhat in the shadow. His creations are powerful and mature, being attractive and repulsive at the same time, strong and subtle, playful and eerie.<\/p>\n

The visual and substantial richness of his production is evident in the so-called \u201cbloody head\u201d series. Born by reworking a self-portrait after a visit to a mortuary, where a friend who was working there showed him a corpse with the flap of his scalp hanging over his forehead, this series of disfigured portraits shows Foulkes\u2019 technical ability in merging together painting, collage and sculptural elements. Behind their gory surface, Foulkes often imbues these works with political and social messages, such as in Ronald Reagan\u2019s portrait Golden Ruler<\/em> (1985), in which a wooden ruler covers Reagan\u2019s bleeding eyes, or in Double Trouble<\/em> (1991), which depicts a man with a fetus in his open mouth and a gun in his hand, hinting at the issues of abortion and gun control.<\/p>\n

\"TheFoulkes\u2019 greatest achievements are his narrative tableaux paintings, which are large three-dimensional, diorama-like compositions. In particular, The Awakening<\/em> (1994\u20132012) (image right) took almost two decades to finish. It depicts the artist and his wife towards the end of their marriage. Foulkes employed the collage technique to make his work as intimate and painful as it could ever get: metal screws take the place of the couple\u2019s eyes, the photo of their dog stands on the console table, the actual ruby towel where the dog used to sleep serves as the bed\u2019s blanket. As elsewhere in the artistic production of Llyn Foulkes, the three-dimensionality of the composition is a product of time and its effects rather than a mere spatial device.<\/p>\n

The exhibition is organized by the Hammer Museum, Los Angeles, and is curated by Ali Subotnick. It was first on view at the Hammer Museum, Los Angeles, 3 February-19 May 2013; then at the New Museum, New York, 12 June-1 September 2013; finally it travels to the Museum Kurhaus Kleve, Kleve, Germany, 6 December 2013\u20132 March 2014. A fully illustrated catalogue including essays by Jim Lewis, Jason Weiss and Ali Subotnick accompanies the exhibition.<\/p>\n

This review appeared in Issue 6 of\u00a0Kolaj Magazine<\/em>. To get your own copy or to subscribe, visit\u00a0http:\/\/kolajmagazine.com\/content\/subscribe<\/a>.<\/p>\n

\n

INFORMATION<\/h3>\n

New Museum<\/strong>
\n235 Bowery
\nNew York, New York 10002 USA
\n(212) 343-0460<\/p>\n

Hours:
\nWednesday and Friday-Sunday, 11AM-6PM
\nThursday, 11AM-9PM<\/p>\n

MAP<\/a>\u00a0|\u00a0WEBSITE<\/a>\u00a0|\u00a0FACEBOOK<\/a><\/p>\n

Image (top):<\/strong>
\nInstallation View
\nof “Llyn Foulkes”, 12 June-1 September 2013
\nImage courtesy of New Museum, New York
\nPhoto: Benoit Pailley<\/p>\n

Image (centre):<\/strong>
\nThe Awakening<\/em>
\nby\u00a0Llyn Foulkes
\n40.25″x44″x7″
\nmixed mediums
\n1994-2012
\nprivate collection
\nImage courtesy of New Museum, New York
\nPhoto: Robert Wedemeyer<\/p>\n","protected":false},"excerpt":{"rendered":"

Llyn Foulkes at the New Museum, New York Exhibition Review by Luigi Galimberti Faussone This extensive career retrospective features over one hundred works covering, in chronological order, the extraordinary development of Llyn Foulkes\u2019 artistic production. From the early cartoons that…<\/p>\n

Read more →<\/a><\/p>\n","protected":false},"author":6,"featured_media":0,"comment_status":"closed","ping_status":"closed","sticky":false,"template":"","format":"gallery","meta":{"jetpack_post_was_ever_published":false,"_jetpack_newsletter_access":"","footnotes":""},"categories":[6,35],"tags":[],"jetpack_featured_media_url":"","jetpack_shortlink":"https:\/\/wp.me\/p2QTD7-Eq","jetpack_sharing_enabled":true,"jetpack_likes_enabled":true,"jetpack-related-posts":[{"id":2316,"url":"https:\/\/kolajmagazine.com\/content\/issues\/issue-6\/","url_meta":{"origin":2506,"position":0},"title":"Issue 6: Collage & the Album Cover","author":"Christopher Byrne","date":"2 October 2013","format":"gallery","excerpt":"Kolaj is a quarterly, printed magazine about contemporary collage. We are interested in how collage is made, how collage is exhibited, and how collage is collected. 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