2680 South La Cienega Blvd
Los Angeles, CA 90034
310.570.6420
michael@maloneyfineart.com
www.maloneyfineart.com

MALICK SIDIBÉ

Malick Sidibé:
Studio Malick, Bamako, Mali


February 28 – April 4


Maloney Fine Art is pleased to present Malick Sidibé: Studio Malick, Bamako, Mali, the photographer’s second solo exhibition with the gallery, in collaboration with Jack Shainman Gallery, New York.  Featuring vintage prints in original hand-painted glass frames, the exhibition celebrates more than forty years of Malick Sidibé’s photographs of the lives of young people in Mali since the country’s independence from France in 1960. Portraying couples, marriage ceremonies, social clubs, sport events, and infants, Sidibé uniquely conveys the pride, exuberance, and beauty of his subjects. Now renowned, his work provides an extraordinary record of momentous social and cultural change:

                No African artist has done more to enhance photography’s stature in the region, contribute to its history, 
enrich its image archive or increase our awareness of the textures and transformations of African culture in the second half of the 20th century and the beginning of the 21st than Malick Sidibé.                                                                                - Robert Storr, Dean, Yale School of Art

Sidibé opened Studio Malick in 1962 as a center for his portrait and documentary work, also serving early on as a popular gathering place for young people in Bamako. His photographs capture the joy, convictions, and desires of a post-colonial generation embracing such new freedoms as rock n’ roll and Western fashions. Over the subsequent decades, Sidibé has continued to depict rituals of social and personal identity. His work raises ever more vital questions about African nationality, self-expression, gender, and historical memory.

Malick Sidibé was born in 1936 in southern French Sudan (now Mali) to a rural herding family. In 1952, his moved to Bamako to attend the prestigious National Institute of Art, graduating in jewelry production. In 1955, he apprenticed at the studio of a leading colonial French photographer, where he began to take portraits of African customers. At night the young photographer biked around to record local dance parties, growing popular for his pictures and his joie de vivre. Opening his own studio in eastern Bamako in 1962, Sidibé has worked there ever since.

Malick Sidibé was the first African artist to be awarded the Golden Lion for Lifetime Achievement by the Venice Biennale, in 2007. He was the recipient of the Hasselblad International Award in Photography, in 2003, as well as the International Center of Photography Infinity Award for Lifetime Achievement, in 2008. Recent solo museum exhibitions include Malick Sidibé: Chemises, The Frances Lehman Loeb Art Center, Vassar College, 2014; Studio Malick, DePaul University Art Museum, Chicago, 2012; traveling to Cornell Fine Arts Museum, Winter Park, Florida; Think with the Senses - Feel with the Mind, 52nd International Art Exhibition, Venice Biennial, 2007; Malick Sidibé: Chemises, Fotografiemuseum (FOAM), Amsterdam, 2008 and Malick Sidibé, The Cartier Foundation, Paris, 2004.

Sidibé’s work is included in numerous public collections including The Metropolitan Museum of Art, NY; Museum of Modern Art, New York, NY; San Francisco Museum of Modern Art, CA; J. Paul Getty Museum, Los Angeles, CA; Los Angeles County Museum of Art, CA; The Studio Museum in Harlem, New York, NY; Philadelphia Museum of Art, PA; High Museum of Art, Atlanta, GA; and International Center of Photography, New York, NY.

KIM McCARTY



KIM McCARTY “Liquid Matter”

January 10 – February 21 



Historically, watercolor as a medium has been thought to be one of lightness and transgression. The painter John Singer Sargent used the phrase dolce far niente, an Italian expression meaning “sweet doing nothing,” for his watercolors of reposing figures that were an opportunity for artistic experimentation, while simultaneously reveal and revel in the more intimate moments of his life. Kim McCarty is known for her watercolors of androgynous, waif-like adolescents, in a moment of transition. In her new series of watercolors, McCarty creates her own species of “painfully sweet” (dolorosamente dolce) creatures—both animal and human—as apparitions staring back at us. Some of the works appear like shrouds, saintly heads floating in space, an ethereal homage of artworks past, and perhaps the artist herself.

The mutability of watercolor allows for a range of expression, from longing to loss, evident in McCarty’s layers of transparent monochromatic color washes. Monochrome paintings are the apex of modernist painting, but McCarty desires the absoluteness of color in a signature palette, colors indicative of the life fluids of body and earth, with little bits of intense color emerging as a stigmatization using paint.

Intrigued by the intractable qualities of watercolor, McCarty works with its transparency, immediacy and unforgiving nature. Keeping the work fluid while using a wet-on-wet technique that is difficult to control, the work is either lost or gained, within minutes. As a result, the artist tends to destroy more than she keeps. It is the element of surprise that most interests her as there is no way to prepare for the resulting image that hovers between presence and absence. The process is strictly intuitive and visceral, allowing the pleasure of feelings and impulses to be expressed within the layers of paint, while complying with the nature of the materials. Seeking out what feels right, McCarty brings a certain authenticity to her work. With a desire to go beyond art’s fetishistic nature, she depicts her subjects sparingly, with empathic identification.

Kim’s work is in the collections of The Museum of Modern Art (MOMA) New York, UCLA Hammer Museum, Los Angeles, CA, Honolulu Academy of Art, Honolulu, Hawaii and The Microsoft Collection. 
JEFF COLSON: Roll Up

November 8 – December 20



Jeff Colson “Roll Up” 2012, carved and painted wood construction, 96 X 120 inches


An exhibition devoted to one monumental artwork and supportive drawings.

“Roll Up,” is a figurative sculpture of carved and painted wood. This “archetypal suitcase” is presented as a partially opened door of a storage unit replete with everyday items such as file cabinets, an ironing board, lawn chairs, a tire, a stereo receiver, plastic containers, and other durables of consumer culture. Colson notes, “The storage metaphor is an existential conundrum, the half-baked notion that if we get all our things in order we might actually keep living indefinitely. There is a furious futility to this accumulation of ‘stuff,’ the overabundance of questionably essential choices, and thinking these things just might come in handy sometime in the future.”

The artist’s approach is a “memory-based idea with all its distortion,” as constructs of the work are biographical from memory. Individually forged through Colson’s own hand-crafted devises, the elements are carved, cut, sawed, sanded, painted, welded, and molded to replicate a relief of modules customized to fit snuggly within the confines of this manufactured receptacle.

The process is instinctual, immediate, and spontaneous yet expendable. Rather than appropriate an existing object, Colson makes it up as he goes along, choosing to rely on a stream of consciousness methodology, which reveals interpretive flaws that intentionally lack hyper-realistic qualities. “I like working that way,” the artist insists, adding, “there is an expedience to quickly knocking something out, as opposed to relying on what you happen to find.”  Colson’s intent is not one of anti-reality, or a statement against ready-made or found objects. Nor is it a defensive gesture in reaction to art market trends or the world in general. His acumen is organic, efficient, and honest.

“Roll Up” is a continuation in a body of work that the artist has been developing for the past decade.  Autobiographical in nature, Colsonʼs work is created from memory rather than existing objects and wields material in a way that is both transcendent and humorous. Distortion and inaccuracy play a role, which he refers to as “wobbly logic.”

Jeff Colson grew up near the oil fields just north of Bakersfield, California. His father was a social worker whose do-it-yourself aesthetic, making everything from toys to homemade life jackets, informed Colson’s own identity as a “crackpot tinkerer.” In his sculpture, Colson refers to both that quirky, by-the-seat-of-your-pants decision-making process and Modernism’s purist grid. The sculptures are fabricated from both personal and cultural memory, often without referencing specific objects or images. The resulting forms are familiar, but aren’t real. The ambiguous quality of the “fabricated” object that is real and isn’t “real” registers the distortions of memory on “remembered” images and/or events.  Colson’s sculptures are physical documents of remembered reality. The sense of history is also literal as each piece can take months, even years to make.

Jeff Colson graduated from California State College, Bakersfield. His work is in the Collection of Count Giuseppe Panza di Buomo at the Museum of Contemporary Art in Los Angeles; the Sammlung Rosenkranz Foundation in Wuppertal, Germany; the Frederick R. Weisman Museum of Art at Pepperdine University in Malibu, California; and in the Los Angeles County Museum of Art’s permanent collection.

Jeff Colson was recently awarded a 2012 John Simon Guggenheim Memorial Foundation Fellowship and a 2015
City of Los Angeles (C.O.L.A.) Fellowship


The artist lives and works in Pasadena, California



TIM HAILAND: A Possible Forest
September 13 - October 31







































Tim Hailand, Dita Von Teese Lipstick Mirror Garden, 2014, unique digital print on black and white fabric, 44" X 29"

Although from the outset Tim Hailand’s photographs are visually compelling, their subject matter, while figurative, is not immediately discernable. With scrutiny these images gradually reveal their contents. Large-scale, present day, usually male figures who are shirtless loom through what seem to be a series of generally monochromatic scrims of pastoral patterns nearly always taken from the distant idealized past. The robust photographic realities of the present are perceived in tandem with imaginary woodland scenes peopled by costumed nymphs, dryads, farmers, fishermen, and laundresses.

What in lesser hands might be merely theatrical, or cinematic juxtapositions are instead pictures suffused with vigorous dreamlike visions. Time itself is talking; the thoroughly modern is in present dialogue with art from the past. These conversations, as if overheard or glimpsed in gardens, are not didactic but rather invocations guided by the artist’s intuition and chance as he prints his photographs onto patterned cloth of the kind called toile de Jouy. It began to figure in his work during a residency at Monet’s Giverny where his bedroom was papered with a red and white eighteenth-century toile of pastoral scenes.
Hailand later purchased cloth of this same variety to use as grounds on which to print his
photographs. These are often portraits of athletic European men, artists, and performers, made, in a variety of places, but also at Giverny. Cloth was mounted to paper cut to dimensions of a size that could be made to fit through an Epson printer and onto which the digitized portraits were directly printed. On occasion the boundaries of the fabric extends beyond the edges of the photograph so that it frames as well as filters what we see. The opacity of the inks and the patterns they carry both mask as well as frame the photographic imagery. The addition of the colors of the toile is intrinsic to the force of the finished works.

Occasionally unexpected juxtapositions of the pattern of the fabric and the flesh of the models give the illusion that bodies and faces are heavily tattooed in ways that overrun, even overwhelm, actual anatomy, as when the drawing of a branch of a tree drapes down from the nape of a man’s neck and splays out over the top of his chest while another leafy limb runs over his ear and forms a kind of carnival mask on his profile. In another image the mast of a ship and a sail extends from a chin up over a mouth and then up onto the bridge of a nose while smaller boats sail across his temples.

The results of these arcane procedures are splendid, simultaneously subtle and strong. Guided by the artist’s intuition, his restless experimentation, and his relentless editing of the results, a unique body of work has come into being. By utilizing revisions of pastoral idylls from the decorative arts of the past, Hailand has uniquely enriched and enlivened modern heroic portraiture.

The artist lives and works in Los Angeles. 


AUGUSTO SANDRONI

Electro Wonky Funkadelic














































Augusto Sandroni Installation July 2014






Untitled (fleur de Hatiora), 2013-14, Oil on canvas, 9 ¼ x 7 inches            






Untitled (King Momo), 2014, Duct tape on canvas, 72 X 48 inches each panel / 72 X 84 inches overall       




         


Untitled (Los Angolandia II A & B), 2014, Oil on canvas, 12 x 8 ea / 12 x 16 inches overall   







Augusto Sandroni Installation July 2014