Review: Chase Roselli’s “Descending”

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Work from Descending by Chase Roselli, on view in San Francisco through July 2017.

Chase Roselli is primarily known for his photography and film, most notably his work on a Superbowl commercial for Airbnb. A true Renaissance man however, he translates the movement and passage of time of film into his paintings, now on view at The Mill in San Francisco. In Roselli’s second exhibition for Four Barrel Coffee, the artist’s work plays on the duality of turbulence and calm of the busy venue. The large scale paintings fill the space with undulating line, while the smaller paintings and mixed media pieces explore the juxtaposition of line and form.

While at first glance the collection is reminiscent of Joy Division’s ubiquitous Unknown Pleasures cover art plastered on t-shirts, dorm room walls, and cell phone cases, Descending reveals a marriage of line and form evocative of much more than a famous album cover.

On the surface, the forms on the large canvases seem topographical, scenic, but abstracted and surreal. The negative space hints at the legacies of Helen Frankenthaler and Sam Francis. The negative space, however, begins to inform the viewer that the undulations may be less topographical and more a mapping of the ephemeral–invoking the waves of the Pacific or the descending of San Francisco fog. Decisive lines trace the wavering patterns of line descending into the negative space, rhythm and movement dancing on the canvas and interacting with the large, imposing, colored shapes in the center of the pieces.

The smaller works, though diminutive compared to the previously mentioned pieces, hold their own in the bustling venue. They are much darker over all, and the lines thicker, creating defined shapes that anchor the waves in a way just as compelling (if not more so) as the large colorful shapes on the opposite wall. The smaller works almost seem to vibrate with tension against the sea of patrons calming drinking their lattes.

The linework of Descending feels much more planned and decisive than those in Roselli’s previous Four Barrel exhibition One More Line (May/June 2015). The artist focuses more on natural rhythm rather than the neatly stacked “automatic drawing” -like patterns of his earlier work. The quality of line, too, is much more elegant and easy.

Descending is West Coast “surfer art” evolved into a rhythmic lullaby of line and form, rocking the viewer deeper and deeper into its pulsating topography.

Descending is on view at through July 2017 at The Mill, 736 Divisadero Street, San Francisco, CA.

Art Rant: A Wordy and Overwrought Manifesto

These  principles are meant to act as a guide to create  an environment  which encourages, inspires,  and sustains truth, understanding, community, and the actualization of art. If transparency and vulnerability are fundamental to verbal communication, then how much more in art?

  1. The  act of  creation  is  the state of  being closest  to presently  experiencing  the world  in which we live. Creating art is communion in its purest form. In actively making art, one can more fully understand the work of others and the  motives behind others’ work. The act of making  and  analyzing  art  can  make  one  more perceptive  to  and  understanding  of another’s  worldview  and  personal  story. Critically viewing and discussing art can result in supporting  and  encouraging conversation, understanding, and community on a local and global level.

  2. In creating we both  experience and interpret our world. We find ourselves caught in the tension  of  making  and  receiving,  which  is  central  to  community  and human  life. At the junction of experience and interpretation, we can accept our surroundings for what they truly are.  We can  then  examine  them  in  order  to contribute  to  our  environment  in  a  positive, constructive way.

  3. When  one is actively  creating, one is  more  able  to  see  the beauty of  the  world in which we  live. Through experience and examination, we engage with Creation and closely examine its intricacies and structures, and can be open to its awe-inspiring forces.

  4. Symbols  and  innuendo  can  be  misinterpreted. Preconceptions  can be blinding. Context  and  meaning  are  often  lost  in  translation. Art as a  layering  of explicit  visual  language  is  an  experiment  in  facilitating mutual understanding. The formal design elements and a record of process are indispensable tools for organizing ideas  and  interpretations  into  a  symbolic  language  which connects with  the  human  spirit and invites the viewer to participate and engage with the act of creation.

  5. Whenever possible, art should be treated as a service and not as a product. Art is better appreciated and of more value to a society when it is perceived as experiential rather than as a commodity.

 

Art Rant: Henrik Aa. Uldalen’s Mural Demolition

 

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Image via Hi-Fructose

The other day, a friend tagged me in a link to a Hi-Fructose article about a mural by Norwegian artist Henrik Aa. Uldalen. She thought it would be of interest to me in light of my recent series on destruction in art. The mural was beautiful and the image of the wall being demolished was striking, but as I read the article, another issue struck me: wow, that machine sure is beating the shit out of that naked, unconscious woman’s body. Continue reading Art Rant: Henrik Aa. Uldalen’s Mural Demolition

Destruction & Ownership: Destruction as Transference of Ownership

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Erased de Kooning Drawing, A Potential Piece of Yellowism, and Rindy Sam’s alteration of Twombly’s Phædrus all address issues of ownership in conjunction with destruction. After all, not many would react to or care about these incidents if they were purely private acts. In utilizing pieces of art in the public sphere, which people feel invested in and take ownership of, they illicit a different response than they would otherwise. By doing so, the artists challenge the nature of ownership.

Continue reading Destruction & Ownership: Destruction as Transference of Ownership

Destruction & Ownership: Making through Unmaking

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Robert Rauschenberg’s Erased de Kooning Drawing (1953) was probably the first time this discussion was seriously held in the fine arts world. Appropriation and repurposing of materials had been debated in the cases of Picasso and Braque’s Cubist collages and had been discussed to the point of exhaustion in the case of the Dadaists. In Rauschenberg’s case, however, a well-known artist’s work was involved. In fact, it had to be involved. Said Rauschenberg later:

I was making drawings myself and erasing them and that just looked like an erased Rauschenberg, and it was nothing. I figured out it had to begin as art, and Bill de Kooning was the best-known acceptable American artist that could be indisputably considered art. (Richmond)

Continue reading Destruction & Ownership: Making through Unmaking

Destruction & Ownership: A Kiss is Just a Kiss

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On October 8th, 2012, Vladimir Umanets tagged Mark Rothko’s Untitled (Black on Maroon) at the Tate Modern in London in dripping black oil paint, later declaring the act the creation of A Potential Piece of Yellowism. Umanets is a member of a movement he calls Yellowism. The Yellowist philosophy draws no distinction between art, anti-art, or even non-art objects. Umanets claims the act was something akin to appropriation; that by signing an artwork not made by him he was making it into a more valuable object. However, the value attributed to A Potential Piece of Yellowism seems to be entirely monetary. “I believe that if someone restores the [Rothko] piece and removes my signature the value of the piece would be lower but after a few years the value will go higher because of what I did,” Umanets said (Quinn).

His tag is not a comment on or an interpretation of Untitled (Black on Maroon). Unlike other works that have employed mark making on or appropriation of an earlier work by another artist, like Rauschenberg’s Erased de Kooning Drawing, the work does not say anything about art or about the work being altered. Additionally, the destruction does not comment on the act of destruction itself, a primary tenet set forth at DIAS. The act is completely self-referential and almost entirely devoid of concept

When the circumstances are altered even slightly, how do our feelings change toward actions toeing the line between vandalism and destruction art? The case of the arrest of French-Cambodian artist Rindy Sam in 2007 at first sounds similar to that of Umanets, and it would be easy to write it off as crime, as the French police did. Upon further inspection, the incident is more complicated. In July of 2007, Rindy Sam planted a kiss on a white part of one of three canvases comprising Cy Twombly’s Phædrus at an exhibition of his works in Avignon. The kiss left a lipstick print on the canvas, for which Sam was fined for property damage. ”I just gave it a kiss… It was an act of love; when I kissed it, I wasn’t thinking. I thought the artist would understand.” (“A Kiss Is Just a Kiss.”)

Continue reading Destruction & Ownership: A Kiss is Just a Kiss

Destruction & Ownership: Where is the line drawn?

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Destruction has been recognized as an accepted element of fine art since the 1950s, in part thanks to the international Destructivist art movement in the 1950s and early 1960s, and the Destruction in Art Symposium (DIAS) in 1966. The movement aimed “to focus attention on the element of destruction in Happenings and other art forms, and to relate this destruction in society” (July 1966 DIAS press release) in reaction to the overwhelming violence of the twentieth century, in particularly the horrors of the Holocaust and World War II. Artists commented on violence and destruction through destructive performances (such as Raphael Montañez Ortiz demolishing a piano at the symposium itself) and using destructive means on canvas within the context of painting.

Continue reading Destruction & Ownership: Where is the line drawn?