Opening: Post 9-11 Group Exhibition @ OHWOW Los Angeles, Thursday, June 30th (p.s. Terry Richardson’s ‘Hollywood’ show is also coming up in February of 2012)

Ryan McGinley, Tom (Golden Tunnel), 2010, C-Print, 72 x 100 inches

OHWOW Gallery

Post 9-11
June 30 – August 27, 2011
937 N. La Cienega / Los Angeles / CA / 90069 PRESS RELEASE

Opening Reception: Thursday, June 30, 6 – 9 PM

“Post 9-11 is a group exhibition distinct of a decade and definitive of an era. The work of the nine artists represented (Dan Colen, Terence Koh, Hanna Liden, Nate Lowman, Adam McEwen, Ryan McGinley, Agathe Snow, Dash Snow, and Aaron Young) defies categorization into a particular movement or style, yet poignantly references a collective history through works of painting, photography, sculpture, and installation.”

info on the Terry Richardson show here.

Terry Richardson, Ho, 2011, C-print, 30 x 40 inches

“Practicing in the new millennium, these New York based-artists, friends and collaborators, are brought together by a sense of community and shared history. Their relationships with each other cemented fully over the last ten years – a decade spent sharing ideas, studios, apartments, and themselves. This intimate connection not only informed their respective practices, it also influenced their creative progressions. The loose society of downtown New York provides affirmation that the bond created making art together proved a powerful factor in the voice and vision of these artists.

Creating imagery, which at times expressed a rebellious spirit and freedom, also responds to their experience of these ten tumultuous years. The Post 9-11 artists’ work runs the gamut: defiant, irreverent and destructive; sublime, utopian, and filled with emotion. Two former studio mates and roommates, Dan Colen and Ryan McGinley exhibit the polarity. A painting of tar and feathers adhered to canvas by Dan Colen, Blop!, 2011, appears chaotic and abject. It references the barbaric and archaic act of punishment and interjects a strong sense of materiality with the use of unconventional media. Conversely, Ryan McGinley’s photograph, Tom (Golden Tunnel), 2010, is a surreal and cinematically arranged image of a nude, male figure in a train tunnel. It is as transcendent in its ethereal treatment as it is existential in its choreography and open-ended narrative.

These brief examples articulate that as a whole, the work in this exhibition is effective in its ability to translate the myriad reactions possible in light of a connected reality. No two experiences can be exact in their expression, however, their aesthetic approaches, although disparate, present a visual memoir of a defining era. Reluctant in yielding to definition, yet decidedly American, Post 9-11 characterizes the mood and complexities of a decade.”