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DESIGN: WWW.HAUSER-SCHWARZ.CH THURSDAY – SUNDAY, 5TH – 8TH MARCH 2015 / PIER 90, NEW YORK KIWON PARK 313 ART PROJECT, SEOUL VOLTA NY 2015 | BOOTH NUMBER D16 313 ART PROJECT: KIWON PARK WEBSITE Kiwon Park is Korea’s representative installation artist whom by interconnecting www.313artproject.com the use of an ordinary object with distinctiveness of its space applies the spatial- E-MAIL ity directly to the work’s materiality and subject. Having been awarded “Korea Art- [email protected] ist Prize,” as the 13th artist of the year 2010 by National Museum of Modern and PHONE Contemporary Art, Korea, he has opened up a new prospect in the field of installa- +82 2 3446 3137 tion art. Park was deeply influenced by post minimalism which focuses on the pure CELL property of matter and represents his work in simple form throughout various in- +82 10 2766 4538 situ installations. He even pays attention to the history possessed inside the place CONTACT NAMES as well as the interrelationship with surrounding environment ultimately brining the Bonaventure Kwak work, the part of its space. REPRESENTED ARTISTS Since its opening in 2010, 313 ART PROJECT, located in the centre of Seoul’s fash- Sophie Calle ion and art hub, Do-San Park in Gangnam, has been actively engaged to introduce Ralph Fleck and support the works of emerging and significant domestic and foreign contem- Youngjin Jo Jon Kessler porary artists of all media. Atta Kim 313 ART PROJECT has given some of the most highly respected contemporary Heryun Kim Insook Kim artists their solo debuts in Korea including Xavier Veilhan, Sophie Calle, Ena Swan- Wan Lee sea, Ralph Fleck, Teresita Fernandez, etc. It has also highlighted young and mid- Ena Swansea career Korean artists of substantial ability including Wan Lee, Atta Kim, Kiwon Park, Xavier Veilhan Heryun Kim, Insook Kim, Youngjin Jo. The gallery is committed to presenting their works on an international scale and to firmly establishing their contributions to art history of our time. COVER Kiwon Park Width 102 (detail) 2009 Oil on Korean traditional paper 214 × 150 cm INSIDE Kiwon Park SPHÉRES 7, Les Moulins Installation view 2014 BACK Kiwon Park Width 2007–2008 Oil on Korean traditional paper 214 × 150 cm (each) BRIAN NOVATNY ADA GALLERY, RICHMOND, VA VOLTA NY 2015 | BOOTH NUMBER E7 ADA GALLERY: BRIAN NOVATNY WEBSITE Novatny’s work explores the tempestuous, storm-tossed seas of historical tumult, www.adagallery.com war, and disasters both private and public in a manner that simultaneously reflects E-MAIL the full sweep and powerful grandeur of their subject matter as well as reveals the [email protected] astonishingly intricate and painstakingly rendered gradations of his stark palette, PHONE comprised mostly of a rich tonal fluctuation of black, white, and quiet grays, as well +1 804 644 0100 as muted earth tones. CELL His figures are like fragments of the past and present struggling to remain whole +1 804 301 1550 against the devouring waves and foreboding atmospheres exploding forth at the CONTACT NAME compositional centers of his pictures, themselves surrounded by the uncertainty of John Pollard a blank white void. His solemn portraits of human fragility at times recall the spec- tral disquiet and mystery of 19th century photography or the peace and profound silence of an undisturbed sea torn asunder in paroxysms of exploded, and explo- REPRESENTED ARTISTS Jakob Boeskov sive, catharsis. His pictures depict a floating, gravitation-less fictive space where Ryan Browning his subjects exist as lost, dislocated figures caught in forgotten human dramas Jared Clark at once distant yet universal and hauntingly familiar — a place where the fervent Daniel Davidson echoes and shadows of time resound over the immensity and vast stretches of a Michelle Forsyth Kirsten Kinder dark and mute world. Derek Larson Brian Novatny was born in Wadsworth, OH in 1964. He earned his MFA at the Yale Jimmy Trotter Bruce Wilhelm University School of Art in New Haven, CT in 1990 and his BFA at the Columbus Col- lege of Art and Design in Columbus, OH in 1987. His work has appeared widely in solo and group shows– both in the US and abroad. Recent exhibits include Sailor’s COVER Diary, a solo show at Mulherin + Pollard in NYC in 2014 followed by his inclusion in Brian Novatny the UNTITLED Contemporary Art Fair MIami Beach 2014 with ADA gallery and an An Exquisite End (detail) exhibit at the Inside Out Art Museum, Beijing, China. He’s been featured at and in 2014 Oil on canvas the collections of the Mississippi Museum of Art, the Columbus (OH) Museum of Art, 60 × 50 in the Layton Gallery at the Milwaukee Institute of Art & Design, the Center on Con- temporary Art (Seattle, WA), the Knoxville Museum of Arts, and the Central Acad- INSIDE Brian Novatny emy of Fine Arts in Beijing. He is currently represented by ADA Gallery in Richmond, Going Under Virginia and lives in Brooklyn, NY. 2014 Oil on canvas 24 × 30 in BACK (LEFT) Brian Novatny Channel Crossing 2014 Oil on shellacked paper 12.25 × 18 in BACK (RIGHT) Brian Novatny Collapsed 2014 Oil on shellacked paper 10 × 11 in BRIAN NOVATNY ADA GALLERY, RICHMOND, VA VOLTA NY 2015 | BOOTH NUMBER E7 ADA GALLERY: BRIAN NOVATNY WEBSITE Novatny’s work explores the tempestuous, storm-tossed seas of historical tumult, www.adagallery.com war, and disasters both private and public in a manner that simultaneously reflects E-MAIL the full sweep and powerful grandeur of their subject matter as well as reveals the [email protected] astonishingly intricate and painstakingly rendered gradations of his stark palette, PHONE comprised mostly of a rich tonal fluctuation of black, white, and quiet grays, as well +1 804 644 0100 as muted earth tones. CELL His figures are like fragments of the past and present struggling to remain whole +1 804 301 1550 against the devouring waves and foreboding atmospheres exploding forth at the CONTACT NAME compositional centers of his pictures, themselves surrounded by the uncertainty of John Pollard a blank white void. His solemn portraits of human fragility at times recall the spec- tral disquiet and mystery of 19th century photography or the peace and profound silence of an undisturbed sea torn asunder in paroxysms of exploded, and explo- REPRESENTED ARTISTS Jakob Boeskov sive, catharsis. His pictures depict a floating, gravitation-less fictive space where Ryan Browning his subjects exist as lost, dislocated figures caught in forgotten human dramas Jared Clark at once distant yet universal and hauntingly familiar — a place where the fervent Daniel Davidson echoes and shadows of time resound over the immensity and vast stretches of a Michelle Forsyth Kirsten Kinder dark and mute world. Derek Larson Brian Novatny was born in Wadsworth, OH in 1964. He earned his MFA at the Yale Jimmy Trotter Bruce Wilhelm University School of Art in New Haven, CT in 1990 and his BFA at the Columbus Col- lege of Art and Design in Columbus, OH in 1987. His work has appeared widely in solo and group shows– both in the US and abroad. Recent exhibits include Sailor’s COVER Diary, a solo show at Mulherin + Pollard in NYC in 2014 followed by his inclusion in Brian Novatny the UNTITLED Contemporary Art Fair MIami Beach 2014 with ADA gallery and an An Exquisite End (detail) exhibit at the Inside Out Art Museum, Beijing, China. He’s been featured at and in 2014 Oil on canvas the collections of the Mississippi Museum of Art, the Columbus (OH) Museum of Art, 60 × 50 in the Layton Gallery at the Milwaukee Institute of Art & Design, the Center on Con- temporary Art (Seattle, WA), the Knoxville Museum of Arts, and the Central Acad- INSIDE Brian Novatny emy of Fine Arts in Beijing. He is currently represented by ADA Gallery in Richmond, Going Under Virginia and lives in Brooklyn, NY. 2014 Oil on canvas 24 × 30 in BACK (LEFT) Brian Novatny Channel Crossing 2014 Oil on shellacked paper 12.25 × 18 in BACK (RIGHT) Brian Novatny Collapsed 2014 Oil on shellacked paper 10 × 11 in SARAH WOODFINE DANIELLE ARNAUD, LONDON VOLTA NY 2015 | BOOTH NUMBER D4 DANIELLE ARNAUD: SARAH WOODFINE WEBSITE ‘According to the philosopher Gaston Bachelard, ‘the miniscule, a narrow gate, www.daniellearnaud.com opens up an entire world’ (The Poetics of Space, 1969). In the case of Sarah E-MAIL Woodfine, Bachelard’s maxim is entirely apt. Woodfine’s drawings, often contained [email protected] within specially constructed structures that act both as frames and as physical PHONE extensions of the drawing itself, operate as miniature worlds, self-contained systems +44 20 7735 8292 through which a series of vignettes are staged for the viewer’s careful consideration. CELL The deceptive, intense surface of Woodfine’s drawings is one point of attraction; +44 78 0148 1727 a second stage of intensification and of bringing into focus is enacted by Woodfine’s CONTACT NAMES elaborate framing. One may therefore regard these ambivalent drawing-objects as Danielle Arnaud a bi-part lens through which one may view a corner, fragment or snapshot of another Rosanna Puyol universe. The environment presented may be regarded as a translation or transfor- mation of selected aspects of the world we frequently take for granted. Woodfine’s practice involves the directing attention, of looking and causing the viewer to look REPRESENTED ARTISTS in an active, highly interested and consistently insistent way.’ — Peter Suchin Suky Best David Cotterrell Nicky Coutts Louisa Fairclough Sarah Woodfine was born in 1968 in Poole, England and studied at Liverpool School Tessa Farmer of Art (1988-1991) and at the Royal Academy Schools, London (1992-1995).
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