Joshua Liner Gallery is pleased to present Chromatic Interactions, an exhibition by Gregory Johnston of new works in enamel on aluminum panel, and two large-scale photographic compositions. This is his first show with the gallery.
Chromatic Interactions continues Johnston’s celebration of the golden era of European motorsports. Utilizing the materials and fabrication methods of traditional Italian “Carrozzerie,” Johnston’s work evokes the styling and coachbuilding tradition that created Italy’s finest luxury sport cars, culminating in the racing cars and prototypes of Ferrari—which dominated both Formula One and legendary endurance races such as the 24 Hours of Le Mans, especially from the late 1950s until the early 1970s.
At the same time, Johnston’s new artwork reflects his continuing engagement with the modern and postmodern masters of abstract color painting and minimalist sculpture, presenting a thoughtful, contemporary vision of the enduring issues raised variously by Duchamp, Albers, Judd and others.
Joshua Liner Gallery is pleased to present Thunder in the Distance, an exhibition of new work from New York-based artist Michael Kagan. This will be the artist’s first US-solo show, featuring large-scale works, as well as several smaller paintings of the same medium, oil on canvas. The artist will be in attendance for the opening reception on Thursday, April 3, 2014.
In the article “Punching a Hole in the Sky,” Shannon White writes of Chuck Yeager— the first person to officially break the sound barrier:
At .965 Mach, the meter fluctuated and went off the scale. The ground control operators simultaneously reported they heard what they thought was thunder in the distance. In fact, they had heard the first sonic boom ever produced on earth.
Kagan chose Thunder in the Distance as the title for this exhibition as it represents humankind’s ability to achieve something outside of their physical means. This mastery of flight, evidenced in the ability to break the sound barrier in a controlled environment, was the impetus to accomplish imaginative goals through technological methods at an exponential rate.
Kagan paints man-made objects and machinery: a rocket, a racecar, a spacesuit, the cockpit of a space shuttle. The artist appreciates that these very same objects— developed through scientific achievement over many years—could instantly kill the operator. The artist never goes back over what he has painted; the brushstrokes mimic, in some ways, the immediate consequence of the imagery.