News // 113 News by GoSee ART
Lyles & King is pleased to present the first New York solo exhibition of London-based artist Jessie Makinson (b. 1985), Dangerous Pleasing – if only for online viewing.
The gallery on the artist: “Teasing threads from art history and literature, Jessie Makinson re-addresses a patriarchal past from a female perspective. Plucking themes and narratives from historical precedent, she creates a bold new context for the motifs she selects. Vivid colors describe tense, erotic scenes in which women are dangerous active participants, not passive permission givers. Makinson’s characters practice rituals, they embrace, plot and conspire. They hold sexual power and disrupt expectations, inhabiting a universe that surprises, delights and tests its audience.”
And Kate Neave continues: “Makinson’s characters seem motivated by jealousy, narcissism, and, desire. Her paintings bring to mind conspiracies and betrayals, invoking plot lines that could equally have been plucked from Tudor England or Instagram stories.”
About – Jessie Makinson (b.1985, London) has had recent solo exhibitions at Fabian Lang, Zurich, CH, and Galería OMR, Mexico City, MX. Her work has been exhibited in group exhibitions including No Patience for Monuments at Perrotin, Seoul, KR (2019); In the Company Of, curated by Katy Hessel at T.J. Boulting, London, UK (2018); Dead Eden at Lyles & King, New York, US (2018); BioPeversity at Nicodim Gallery, Los Angeles, US (2018); Formal Encounters at Nicodim Gallery, Bucharest, HU (2018); Breaking Shells, curated by Justine Do Espirito Santo at The Koppel Room, London, UK (2018); and Fake French at Roman Road, London, UK (2016). Upcoming exhibitions include I See You at Victoria Miro, London, UK, and Kunstverein Dresden. She lives and works in London. GoSee: lylesandking.com
02.04.2020 // show complete article
Akasha Rabut’s wonderful illustrated book ‘Death Magick Abundance’ documents the residents of New Orleans, who brought the city back to life after the devastating hurricane Katrina. To do so, the photographer accompanied the biker gang Caramel Curves from New Orleans for her documentary project. Founded in 2005, the year the southern metropolis was struck by the natural catastrophe, the gang is turning the world of motorcycle clubs and their traditional masculine image completely upside down wearing stilettos on pink bikes. The focus of the book is also on the urban cowboy group Southern Riderz.
“A connection that was made through this trauma with each other. It’s forced them to be really creative. Living through that really inspires people. I feel like they are luminaries,” says Akasha Rabut. “People here live everyday like it’s their last day and that’s beautiful to me. Everybody here is very friendly and there’s a real sense of community. We have a lack of infrastructure here and the people are the ones taking care of each other.”
The project appeared in an illustrated book by Anthology Editions : “More than any party, parade, team, or disaster, New Orleans is the people. The ones who persevere, survive, strengthen, and transform the city in all its unceasing vibrancy. For nearly a decade, photographer Akasha Rabut has documented this thriving culture. In Death Magick Abundance, her first book, she reveals the city’s spirit through the pink smoke of the Caramel Curves, the first all-female, black motorcycle club alongside the Southern Riderz, urban cowboys on horseback in the streets, and many others who represent the next generation of New Orleans. Seeking to interpret and preserve a sacred cultural heritage while redefining itself against a constantly shifting landscape, Death Magick Abundance is a conduit for the love and unending beauty of New Orleans and its people to flow to the rest of the world.”
“I am a photographer and educator based in New Orleans. My work explores multi-cultural phenomena and tradition rooted in the American South. I also founded Creative Council, a mentoring program for young people in New Orleans pursuing careers in the arts. My photographs have appeared in museums and galleries around the world.”
01.04.2020 // show complete article
Photographer Mark Mahaney visited Utqiagvik in Alaska, the northernmost city in the USA and one of the farthest north in the world. The sun doesn’t rise there for 65 days each winter and baths the area in grayish-purple twilight for only a few minutes. It is also known as ‘ground zero for climate change’. He presents us his poetic and seemingly decelerating observations in the impressive project entitled ‘Polar Night’.
“Mark Mahaney’s Polar Night is a passage through a rapidly changing landscape in Alaska’s northernmost town of Utqiagvik. It’s an exploration of prolonged darkness, told through the strange beauty of a snowscape cast in a two month shadow. The unnatural lights that flare in the sun’s absence and the shapes that emerge from the landscape are unexpectedly beautiful in their softness and harshness. It’s hard to see past the heavy gaze of climate change in an arctic town, though Polar Night is a visual poem about endurance, isolation and survival.”
The short illustrated book was published at Trespasser in the US, and it is available via Kominek Books in Europe (10.5 x 13.5, 52 pages, 10 b&w and 16 color plates).
Mark Mahaney’s photographs have a simplicity that belies the depth of his vision. For Mahaney, the meaning of a story cannot be conveyed in an individual image. Instead, he singles out eloquent details, creating elegant, restrained images that add up to more than the sum of their parts.
Much of Mahaney’s work concentrates on places and ways of living that no longer exist. American rural life was once personified by small Midwestern towns such as the one that Mahaney himself grew up in. Places like these have been transformed beyond recognition, but the dreams and aspirations that formed them are still to be found in the traces that remain. The honesty with which he depicts these quiet, unspectacular landscapes is also present in the impartiality with which he treats his portrait subjects. Mahaney’s vision is innately democratic, focused on what is relevant and special about each person he photographs. The individual’s personal environment is an expression of their inner life, and Mahaney prefers to depict his subjects in their own spaces. His approach is measured, even methodical, drawing out the most meaningful elements of a scene and gathering them together to build a narrative. In his photographs, what’s left out of the frame is as important as what’s included.
18.03.2020 // show complete article