MALONEY FINE ART

2012-01-06T11:40:00.000-08:00

DANNY FIRST: Peaceful Solitude

January 7 – February 18, 2012

Opening reception for the artist: Saturday, January 7, 6-8 PM

Maloney Fine Art is pleased to present Peaceful Solitude, an exhibition of new sculpture by Los Angeles-based artist Danny First.

This marks Danny First's first solo exhibition in Los Angeles.

Danny First has been exploring sculpture for the past five years; first working in clay and more recently in bronze, to create whimsical busts. He has also developed a body of work utilizing reclaimed / recycled materials to create functional benches which incorporate text reflecting First’s droll sense of humor. Whether it is figurative or utilitarian in nature, First’s work is light and unpretentious. Informed by art history and the tradition of creating sculptural forms, First’s sculpture reflects the artist’s optimistic view of life.

Often, an artist's list of influences and references becomes predictable--if he is clearly influenced by one forebear, he will likely subscribe to that person's school, and an astute viewer can tease out subsequent connections. Not so Danny First. First starts from a classic stance--sculptures of Everyman, presenting viewers with tabulae rasa upon which to project one's own qualities. The effect is sublimely subtle, and gives viewers an additional hook upon which to hang their personal hats--we are all of us naifs at base, and First seems to revel in both the sadness and the humor of this. He acts as a guide for the viewer, but one who stays relatively mute throughout a tour, allowing his audience to puzzle over the very things as to which we think explanation should either be easy or forthcoming. After spending time with First's heads, one realizes that neither is the case--the truth is us, and the split-second reaction that First captures in his portrayals is the most innocent, the least edited of all. His Everyman is not purely blank, then--but as to why First leaves unsaid. His are portraits of the universal and the undefined--but still manage to carry a heavy pedigree, creating a polar experience of both gravity and levity.

Danny First lives and works in Los Angeles.

MALONEY FINE ART

2680 South La Cienega Boulevard, Los Angeles, CA 90034 310.570.6420

www.maloneyfineart.com

Inquiries – please call / email:

MICHAEL MALONEY 310.570.6420 michael@maloneyfineart.com

The Minimalists: Donald, Tony, and Carl, 2011, Bronze, Edition of 5

32 1/2 x 16 x 12 inches each, 72 1/2 x 16 x 12 (including base)

Manfred, 2011, Painted ceramic on painted plywood base, Unique

24 x 16 x 12 inches, 68 x 15 x 12 (including base)

Abram, 2011, Painted ceramic on painted plywood base, Unique

24 x 16 x 12 inches, 68 x 15 x 15 (including base)

Leroy, 2011, Bronze, Edition of 5

23 x 16 x 12 inches, 32 x 16 x 12 (including base)

On Hold For A Bigger Collector Than You, 2011, Laser-cut, recycled plastics, Edition of 15

32 x 26 x 24 inches

Please Wait To Be Seated, 2011, Laser-cut, recycled plastics, Edition of 15

32 x 26 x 24 inches

2011-10-27T14:38:00.000-07:00

GEORGE STOLL: prime numbers + catenary curves

November 5 – December 17, 2011

Opening reception for the artist: Saturday, November 5, 6-8 PM

Maloney Fine Art is pleased to present an exhibition of new work by George Stoll.

According to the artist, “From the invention of zero 2,500 years ago in India to the use of the Golden Section in classical architecture, the world of mathematics fascinates me even if I’m no more than a tourist. Yet despite my rudimentary understanding of math and geometry, the abstract possibilities intrigue me because its patterns are so often surprising and elegant. Catenary curves have occurred in my work by default or design for years. They show up in the Mother’s Day Pearls and aluminum foil Christmas garland sculptures. They are also the source material for many of my Tupperware pieces. “

The sculptures in the show are hung 1 1/8 inches away from the wall on steel pins and are created with materials usually used for making jewelry. These include beading wire, silver rings and glass beads. The artist selected beads from Czechoslovakia, Ghana, China and Japan because of their inherent paint-like quality. They are arranged in groups by color of equal lengths within each piece. These lines add up to prime numbers. A prime number is a number that can only be divided by 1 and itself (i.e., 2, 3, 5, 7, 13, etc.) For example, one of them consists of 11 overlapping curves, and each of the 11 sections is of equal lengths of 11 colors. Stoll employed the lengths of color to reveal the patterns and utilized gravity as a partner and guide.

A recipient of the Rome Prize, George Stoll's work has been exhibited extensively and he has had numerous solo exhibitions, including Baldwin Gallery, Aspen; Maloney Fine Art, Los Angeles; Grant Selwyn Fine Art, New York; Gallery Seomi, Seoul; Windows Gallery, Brussels; Rose Art Museum, Brandeis University, Boston; and The Contemporary Art Center, Cincinnati.

Stoll’s works have appeared in group exhibitions internationally, including Cheim & Read, New York; American Academy in Rome, Biagiotti Progetto Arte, Florence; Galerie Thaddaeus Ropac, Salzburg/Paris; San Francisco Museum of Modern Art; and The Drawing Center, New York.

Public collections include La Colección Jumex, Mexico City; Museum of Contemporary Art Los Angeles; San Diego Museum of Contemporary Art; Museum of Contemporary Art Seattle; the Norton Family Collection as well as other institutions.

MALONEY FINE ART
2680 South La Cienega Boulevard, Los Angeles, CA 90034 310.570.6420
www.maloneyfineart.com

Inquiries – please call / email:
MICHAEL MALONEY 310.570.6420 michael@maloneyfineart.com

Untitled (11 lengths of colored beads on 5 pins,12 inches apart), 2011

31 1/2 x 48 x 1 1/8 inches

Untitled (29 lengths of colored beads on 6 pins, 28 1/2, 5 1/2, 33 3/4, 5 1/2, and 28 1/2 inches apart), 2011

42 1/2 x 101 3/4 x 1 1/8 inches

Untitled (17 lengths of colored beads on 3 pins, 21 inches apart), 2011

18 1/2 x 42 x 1 1/8 inches

Untitled (11 lengths of colored beads on 13 pins, 11 inches apart), 2011

21 1/2 x 132 x 1 1/8 inches

2011-10-27T14:20:00.000-07:00

GRETA WALLER: Ice Paintings

October 2011

Flank by Flank, 2011, Oil on canvas, 44 x 47 inches

Maloney Fine Art is pleased to present an exhibition of new paintings by Greta Waller. In easel-sized canvases, the artist continues her investigation of the still life as an exposition of painting’s temporal character; a struggle to harness the ceaseless motion or changing state of objects in the world. With a tightly-focused haste to the painterly surfaces, Waller’s figurative works are almost puritanical in their doubts and convictions about the experience of seeing as it is evoked in painting.

In a recent group of works, Waller’s stark palette defines hovering, closeup perspectives on large, irregular blocks of ice melting in unassuming, periwinkle-trimmed dishes; lit by artificial light. The ice, in the process of changing states (melting into water), evokes the artist’s iconographic practice:

“My goal in painting has evolved into the feat to solidify the changing object.

My ultimate goal in painting is to be able to give a different definition of what that solid object might stereotypically be in my viewer and to myself. I have yet to define what reality is, but I chose painting as a means to understand it. Reality is always moving in terms of light, our perception of it, and time. Painting is my constant struggle to harness that which is fleeting. When I say that I know my reality through painting I want it to be understood that it is a choice I have made in order to confront what is fleeting. When I look at a painting I completed many years ago it hs the incredible ability to transport me back to that moment. I am able to smell the air, perhaps feel the sun, or remember my frustrations at the time. My painting are irreplaceable and brutally honest documents of my life, my time, and my desires. Although the paintings are reflections of the object before me, they are more than that. My paintings are a meditation on myself.”

The paintings carry out this Apollonian task; penetrating the stasis of the image on canvas by presenting objects that—in being seen—are experienced as having potential energy; that are for instance melting or burning; that are raw; that may spoil. The recurrence of subjects alluding to staples or necessities—blocks of ice or cuts of meat, with their ephemeral textural behaviors—are paid a perverse attention in the sparsely populated paintings, as if they were luxuries in a context of scarcity.

Greta Waller has exhibited in group shows in Los Angeles and New York and is completing her MFA at the University of California, Los Angeles. This is Waller’s first one-person show in Los Angeles.

Cracked, But Not Broken, 2011, Oil on canvas, 40 x 48 inches

Augustus, 2011, Oil on canvas, 48 x 60 inches

Struggle for Pleasure, 2011, Oil on canvas, 72 x 84 inches

25LB Ice, 2010, Oil on canvas, 18 x 24 inches

Vuillard’s Ice, 2010, Oil on canvas, 16 x 20 inches

2011-07-14T16:26:00.000-07:00

LEISURELAND

Opening: Saturday, July 16: 6-8 PM
July 16 - August 20

JAMES FRANKLIN BENJAMIN
PHILLIP MABERRY + SCOTT WALKER
ROBERT OTTO EPSTEIN
GRETA WALLER

Somewhere between the front door and the back fence lies LEISURELAND, the space that defines summer and the ability to kick back, relax, read, swim, barbecue and enjoy the company of friends.

2011-06-04T14:48:00.000-07:00

Currently on view:

KELLY BARRIE
ROBERT LEVINE
GEORGE STOLL
MABERRY + WALKER
GRETA WALLER

through July 9

2011-04-02T15:04:00.000-07:00

ROBERT LEVINE: Paintings

9 April – 14 May 2011

Double Concentric, 2008, oil on canvas, 72 x 72 inches

Robert Levine’s vividly colored, abstract paintings employ a lush and idiosyncratic system of structure and form. Through the use of geometry combined with biomorphic asymmetry these paintings teeter between a banal awkwardness and a poetic elegance. Having devoted many years to making sculptural objects Levine turned to painting around 2002 with a series of works (The Broken Pencil Paintings) inspired by Robert Irwin’s Late Line Paintings. These works set in motion Robert’s current investigation of geometric structure, form and color.
Critic Jerry Saltz recently wrote: “The history of modernism reads like an aesthetic Book of the Dead. At the first glimmering of photography, painter Paul Delaroche fretted, “From today, painting is dead.” In 1912, Duchamp mused, “Painting is washed up.” Aleksandr Rodchenko pronounced his 1921 monochromes “the end of painting.” Critic Harold Rosenberg was fond of a line, popular among the AbEx crowd, declaring that the painting of “Newman had closed the door, Rothko had pulled down the shades, and Reinhardt had turned out the lights.” And Reinhardt himself once said, “I am merely making the last painting which anyone can make.” Painting is dead, long live painting! Artists like Robert Levine continue to infuse wonder and meaning into the ongoing dialogue of abstraction.
Robert Levine was born in Pittsburgh, PA, received his BFA from Carnegie-Mellon University and his MFA from California Institute for the Arts. Robert lives and works in Los Angeles.

Opening reception for the artist: Saturday April 9, 6 – 8 PM

Concentrically Concentric, 2008, oil on canvas, 72 x 72 inches

Floating Squares, 2008, oil on canvas, 72 x 72 inches

Gotham, 2008, oil on canvas, 72 x 72 inches

Gray Area, 2007, oil on canvas, 72 x 72 inches

Green Orange Divide, 2008, oil on canvas, 72 x 72 inches

Off Center, 2010, oil on canvas, 26 x 35 inches

Split, 2010, oil on canvas, 44 x 59 inches

The Blue and the Green, 2009, oil on canvas, 44 x 59 inches

Untitled, 2010, oil on canvas, 59 x 44 inches

Untitled Diptych I, 2009, oil on canvas, 26 x 35 inches

Untitled Diptych II, 2009, oil on canvas, 26 x 35 inches

Fourth D, 2009, oil on canvas, 44 x 59 inches

2011-01-06T18:23:00.000-08:00

GEORGE STOLL: Selected Sculpture + Paintings
8 January – 28 February 2011

UNTITLED (16 Tumblers in an elliptical arrangement #6), 2007

Beeswax, paraffin & pigment, painted wood shelf, 30 x 57 ¼ x 4 ½ inches

George Stoll is interested in the subject that is hiding in plain sight and what happens when representation becomes abstracted. In this work he investigates the poetics of American consumer culture and Catholic iconography, and by so doing creates beautiful sculptures that have the immediacy of Pop Art, the spare elegance of Minimalism, the appearance of a monochrome, and the telling ability to transcend their domestic function.
He fabricates by hand that which is found in everyday life: toilet paper, party streamers, sponges, American flags, Thanksgiving platters, Christmas Lights and most notably, Tupperware. In this exhibition at Maloney Fine Art, George will present his classic Tupperware configurations in elliptical forms, shelf sculptures and sponge paintings made of burned balsa wood.
George Stoll lives and works in Los Angeles. A recipient of the Rome Prize, his work has been exhibited extensively and he has had numerous solo exhibitions, including Baldwin Gallery, Aspen; Angles, Los Angeles; Grant Selwyn Fine Art, New York; Gallery Seomi, Seoul; Windows Gallery, Brussels; Rose Art Museum, Brandeis University, Boston; and The Contemporary Art Center, Cincinnati. Stoll’s works have appeared in group exhibitions internationally, including Cheim & Read, New York; American Academy in Rome, Biagiotti Progetto Arte, Florence; Galerie Thaddaeus Ropac, Salzburg; San Francisco Museum of Modern Art; and The Drawing Center, New York. Public collections include the San Diego Museum of Contemporary Art; Norton Family Collection; The Robert J. Shiffler Collection, the Williams - Sonoma Collection and the Museum of Contemporary Art Los Angeles.

UNTITLED (2 Tumblers on a 8” X 5 1/4” shelf), 2001

Beeswax, paraffin & pigment, painted wood shelf, 9 x 8 x 5 ¼ inches

UNTITLED (7 Tumblers on a 18” X 9” shelf), 2007

Beeswax, paraffin & pigment, painted wood shelves, 9 x 18 x 9 inches

UNTITLED (9 Tumblers on a 22” X 71/2” shelf), 2007

Beeswax, paraffin & pigment, painted wood shelf, 9 x 22 ½ x 7 1/2 inches

UNTITLED (9 Tumblers on a 22” X 71/2” shelf), 2007
Beeswax, paraffin & pigment, painted wood shelf, 9 x 22 ½ x 7 1/2 inches

UNTITLED (Sponge Painting: Teal Single), 1999

Burned balsa wood and alkyd, 6 ¼ x 4 x 3 inches

UNTITLED (Sponge Painting: 2-pack horizontal, Orange +Raspberry), 1999

Burned balsa wood and alkyd, 6 7/8 x 6 x ½ inches

UNTITLED (Sponge Painting: White on Mint), 1999

Burned balsa wood and alkyd, 7 ½ x 4 x 3 inches

UNTITLED (Sponge Painting: 4-pack, Blue + Orange / Mint + Yellow), 1999

Burned balsa wood and alkyd, 4 ½ x 5 ¾ x 1 ½ inches

2010-10-30T15:17:00.000-07:00

GRETA WALLER: Ice Paintings
6 November - 18 December 2010

Traditional Ice, 2010, Oil on canvas, 18 x 24

“My goal in painting has evolved into the feat to solidify the changing object.

Greta Waller has exhibited in group shows in Los Angeles and New York and is completing her MFA at the University of California, Los Angeles. This is Waller’s first one-person show in Los Angeles.

My First Block, 2010, Oil on canvas, 18 x 24 inches

25LB Ice, 2010, Oil on canvas, 18 x 24 inches

52LB Block, 2010, Oil on canvas, 18 x 24 inches

The Party’s Over, 2010, Oil on canvas, 18 x 24 inches

Melting Monument, 2010, Oil on canvas, 18 x 24 inches

My Dinner Plate, 2010, Oil on canvas, 16 X 20 inches


Remains of the Night, 2010, Oil on canvas, 20 x 24 inches

While Kris Was Sleeping, 2010, Oil on canvas, 20 x 24 inches

Slice of Ice, 2010, Oil on canvas, 12 x 12 inches

Two are Hard, 2010, Oil on canvas, 12 x 12 inches

Wee Hours of the Morning, 2010, Oil on canvas, 11 x 14 inches

Roger’s Aquarium, 2010, Oil on canvas, 16 x 20 inches

Vuillard’s Ice, 2010, Oil on canvas, 16 x 20 inches

One Hour Flat, 2010, Oil on canvas, 16 x 20 inches

Ice from Versailles, 2010, Oil on canvas, 20 x 24 inches

THE Ice, 2010, Oil on canvas, 18 x 24 inches

2010-09-11T15:28:00.000-07:00

MABERRY + WALKER : "Pool Toys"

September 18 - October 30, 2010

Lil Big Gurl, 2010, glazed ceramic, 40 X 36 X 16 inches

Landroid #10, 2010, glazed ceramic, 24 X 22 X 11 inches

Camo, 2010, glazed ceramic, 22 X 18 X 13 inches

Toupee, 2010, glazed ceramic, 21 X 19 x 11 inches

Tabpole, 2010, glazed ceramic, 20 X 17 X 17 inches

Sand Crab, 2010, glazed ceramic, 12 X 15 X 21 inches

Stretch, 2010, glazed ceramic, 18 X 23 X 11 inches

2010-08-17T13:24:00.000-07:00

KELLY BARRIE:
"Between the Blinds"
14 AUGUST - 11 SEPTEMBER 2010

Encapsulating aspects of drawing, painting, dance and performance, Kelly Barrie’s large-format photographs can be read on many levels. Barrie’s process evolves from the experience of existing images as imaginary sites where the past and present converge.

Starting with found photographs of objects that have been destroyed, and subsequently, lost to history, he performs his response to them by literally walking it out on the studio floor using toe drags, heel spins, snake walks and foot sweeps to manipulate photo-luminescent pigment on black paper. The drawing is then documented in several dozen 8” X 10” sections using a 35 mm camera utilizing natural daylight stored in the light-sensitive powder. The powder’s light is released by using the vertical blinds in the artist’s studio as a type of aperture. Over the course of several weeks, 70 or more photographs are taken using a grid system which later allows the artist to stitch the photos back together using computer software in order to complete a finished photograph. ‘Between the Blinds,’ refers to the series of photographs based on this process, which Barrie began in 2008.

The centerpiece of this exhibition; ‘Twenty Grand, Saint Pierre de Varengeville-Duclair Forest, Rouen Normandy, circa 1945’ derives its titled from “Twenty Grand,” which was the name of one of nine ‘cigarette camps’ erected in Rouen, France in 1945. Each of the US Army camps was named after a popular brand of cigarettes of the day (among them Pall Mall, Old Gold, Philip Morris, Chesterfield, Lucky Strike, Home Run, Wings and Herbert Tareyton) where thousands of American soldiers were stationed after the liberation of Normandy. The trees surrounded land in the heart of the Saint Pierre de Varengeville-Duclair Forest near Rouen used by troops needing treatment or waiting to be sent elsewhere.

'Tree of Tenere' also known as 'The Lonely Tree of Tenere' is an image of legendary tree, which stood alone in the vast, Sahara Desert, the only form of vegetation for within 250 miles. For decades the tree stood undisturbed until 1973. The tree met an imporbable end when a Libyian truck driver accidentally drove into it.

Kelly Barrie was born in London in 1973 and has lived in New York City and Los Angeles since 1987. He received an MFA in Photography from California Institute of the Arts and continued post-graduate work in the Independent Study Program, Whitney Museum of American Art, New York. Kelly’s work has been represented in numerous group exhibitions including the 2008 Biennale of Sydney; the 2008 California Biennial; Sikkema Jenkins & Co, New York; Artists Space, New York; Hyde Park Art Center, Chicago; the Museo Alejandro Otero, Caracas.

2010-04-03T12:47:00.000-07:00

DONALD JUDD: Drawings 1963-1977
MAY 22 - JULY 31, 2010

Emerging in the 1960s in New York, Judd became known as a major exponent of ‘Minimalism,’ a label he strongly rejected, preferring to describe his work as “the simple expression of complex thought.” The artist did not begin to produce mature, wholly distinctive works of art until shortly after his thirty-second birthday, in the summer of 1960. The years between 1963 and 1977 were his most fertile years, a period in which the artist established the formal dictum, which would guide and inform his work throughout his life. In these drawings, one can trace the trajectory of Judd’s thought processes as he found a starting point for the reinvention of American art. Here is the private and unself-conscious studio activity of thinking, observing, testing and recording, made available to the outside world. Many of these drawings were included in the mid-career retrospective organized by John Coplans at the Pasadena Art Museum in 1971 as well as the seminal Retrospective of Donald Judd Drawings, curated by Kieter Koepplin at the Hunstmuseum Basel in 1976.

Donald Judd’s legacy is that of simplicity, “all of art history pared down to the basic geometric module of a box made of industrial materials.” Judd’s desire was to make a distinct break from the tradition of European Art. He rejected the symbolism and emotive work of the abstract expressionists, based on free-wheeling use of color and gesture, and by introducing the use of industrial materials Judd developed a vocabulary of sculptural form, which remains unrivaled. Humble materials such as metals, industrial plywood, concrete and color-impregnated Plexiglas became staples of his career. The artist remained adamant that a sculpture fabricated in aluminum or galvanized steel, under his close supervision was no different than a cast bronze, by a more traditional artist. Most of his output was in freestanding ‘Specific Objects” (the name of his seminal essay published in Arts Yearbook in 1965 and exhibition of the same title at the Jewish Museum, 1965), that used simple, often repeated forms to explore space, and the use of space.

“My work has the appearance it has, wrongly called ‘objective’ and ‘impersonal', because my first and largest interest is in my relation to the natural world, all of it, all the way out. This interest includes my existence, a keen interest in the existence of everything and the space and time that is created by existing things. Art emulates this creation or definition by also creating, on a small scale, space and time.” -Donald Judd

Donald Judd (1928-1994) changed the course of modern sculpture.

2010-03-02T15:59:00.000-08:00

THE BONEYARD

curated by Tony Payne

May - April, 2010

TOM FRIEDMAN

RICHARD HAWKINS

ROBERT HAWKINS

WHITNEY HUBBS

ROBERT MAPPLETHORPE

KEITH MAYERSON

HELMUT NEWTON

GEORGE STOLL

TOM OF FINLAND

GRETA WALLER

something had been coming out of him, certainly it had been coming out of him, certainly it was something, certainly it had been coming out of him and it had meaning, a charming meaning, a solid meaning, a struggling meaning, a clear meaning.

PICASSO / 1912 - GERTRUDE STEIN

LIFE AND DEATH

THE MEANINGS, EXPOSED, THE MOMENTS IN BETWEEN

This show is an homage to true artists (both alive and dead) whose light - whose fire - burns so brightly as to transpose an indelible mark on society and culture, to shape the world in some way with their distinct vision and the images they create (and leave behind).

Through black and white images and objects, I’m attempting to open the various windows of thought, bridging connections between some of the most diverse, individual, and clear seeing visionaries of our time. Its remarkable to see how works completed over 20 years (Tom of Finland) and even 30 years ago (Robert Mapplethorpe) can appear so extreme and radical in a new light - contextualized within a framework, exploring the boundaries of our world today. The mixture of old and new and the integrated nature of the diverse media here, attempts to shed some light on the true nature of this art – the purity of meaning (the passion and truth) that emerges, clearly, when the deep inner workings are laid bare.

LA PETITE MORTE.. THE BONEYARD .

2010-01-09T23:40:00.000-08:00

Thomas Schutte

United Enemies: A Play in Ten Scenes

January 16 - February 27, 2010

In 1994 German artist Thomas Schutte (b. 1954) produced a small group of figurative sculptures and corresponding photographic images, which bear the common title 'United Enemies.' Each of these works consists of two little men, tied together on a piece of pvc pipe which serves as a base, dressed in colorful scraps of fabric and placed under a bell jar for display. The faces resemble the character studies of Daumier: ruthless, yet imbued with a love of the human species. In their grotesque features, one can easily read anger, shrewdness and mutual distrust-and the types of concern that these wicked figures may well force upon each other. But one never knows with Schutte. They might as well be friends, united in word, but just as divided by their own plans and ambitions.

Thomas Schutte is concerned with models for living, rules for making art and, in turn, the failed flights of these systems and aspirations. Schutte's art looks utilitarian - offering shelter, sustenance and companionship - but delivers false promises and alien worlds; such as his museum that incinerates art, potatoes made of bronze and the artist;s vision of humanity as tiny wooden audiences, two-headed hybrids or giant robotic figures.

Schutte's sculptures vary in scale from giant candy-colored fruits to miniature fairytale buildings. The artist manipulates size, materials and subject matter with astounding versatility and dexterity, perpetually shifting scales so that the viewer is immersed in a series of poetic yet dysfunctional utopias. He has also constructed a series of architectural models of institutions and monuments whose eclectic array of building typologies suggest de Chirico-like metaphysical spaces.

Schutte's sculptures, installations, photographs and watercolors have been exhibited in museums and galleries as well as in public commissions throughout Europe, Asia and the United States.

2009-09-15T13:36:00.001-07:00

Malick Sidibé
Photographs: 1962 – 2008
Fall 2009

Malick Sidibé, Femme Pheul du Niger, 1970 / 2004
Vintage gelatin silver print, glass, paint, cardboard, tape, string, 17 X 13 inches
MS04.030.2

Malick Sidibé, Nuit de Noel (Happy-Club), 1963 / 2007, Gelatin silver print, 5 x 5 inches
MS08.003

Malick Sidibé, Surprise Party, 1964 / 2007, Gelatin silver print, 12 x 9 3/4 inches
MS07.010.2

MALICK SIDIBÉ:
PHOTOGRAPHS: 1962-2008

September 12 – October 24, 2009

Maloney Fine Art is proud to present an exhibition of recent and vintage photographs by Malick Sidibé; the renowned 72 year old photographer’s first solo exhibition in Los Angeles.

Malick Sidibé was honored in 2008 with the International Center of Photography Infinity Award for Lifetime Achievement. In 2007 Sidibe was awarded the Golden Lion for Lifetime Achievement by the Board of La Biennale di Venecia and in 2003 Sidibé was the recipient of the Hasselblad Award.

2009-09-15T13:35:00.001-07:00

BLUE, BLUE

Summer 2009

George Condo
Mike Dee
Kim Dingle
David Dupuis
David Hendren

Damien Hirst
Anthony James

Yves Klein
Jeff Koons
Rachel Lachowicz
Kim McCarty

Catherine Opie

Sigmar Polke

Ed Ruscha

Simmons & Burke
George Stoll
Tam Van Tran
Maberry / Walker
Millie Wilson
Rob Wynne

2009-09-15T13:34:00.004-07:00

EYE CANDY
Spring 2009

2009-09-15T13:34:00.003-07:00

ROBERT MAPPLETHORPE: CERTAIN FLOWERS
Winter 2009

Throughout Robert Mapplethorpe’s career, beginning with his first Polaroids in 1973 and continuing until the photographer’s death in 1989, the artist made photographs of flowers in addition to portraits of artists, musicians, cultural icons, and, notoriously, nudes.

Robert Mapplethorpe: “Certain Flowers” focuses on the extreme economy of expression which is a hallmark of the artist’s work. Beguiling floral images, coupled with raking background shadows and a formal structural geometry are characteristics which distinguish Mapplethorpe’s singular vision.

2009-09-15T13:34:00.001-07:00

MABERRY WALKER - POOL TOYS

Spring / Summer: 2009

2009-09-15T13:26:00.003-07:00

JORGE PARDO: INSTALLATION
Spring 2008

Jorge Pardo’s sculpture continues to blur the line between art, design and architecture as well as public and private space. Each project takes on a familiar yet alien presence with recurring elements of surface structure, other-worldly shape, vibrant color and a persistent playfulness that continues to reinvigorate and redefine Pardo’s sculpture.

Pardo’s artworks take many forms, often resembling everyday objects such as lamps, tables, chairs as well as structures, rooms and buildings. But in Pardo’s hands, spatial relationships become critical, color relationships are reinvented and the boundary between that which is utilitarian, useless or hedonistic is stretched and pulled.

Jorge Pardo’s work has been exhibited internationally; including exhibitions at the Museum of Modern Art, New York (2001), the Dia Center for the Arts, New York (2000), Skulpture Projekt in Munster (1997) and the Sao Paulo Biennial (2004). This past year Pardo was honored with a mid-career survey at the Museum of Contemporary Art, Miami (2007). Most recently, Jorge Pardo has been commissioned to design the new installation of the Pre-Columbian collection at the Los Angeles County Museum of Art (LACMA), due to open to the public in June 2008.

Jorge Pardo: born 1963, Havana, lives and works in Los Angeles.

2009-09-15T13:26:00.001-07:00

Jorge Pardo

Untitled 2006 West Palm Beach Project

1016 Clare Avenue, West Palm Beach, Florida

This project was conceived and executed in the early fall of 2005 in response to a request by real estate developer David Wasserman to bring attention to a drab, two-block-long stretch of industrial warehouses, which he owns in the center of West Palm Beach, Florida. Pardo prepared a computer-generated sketch of each façade of the building, which the artist overlaid with his explosive, tropical design. David Wasserman did not hesitate in approving the execution of Pardo’s design.. The sketches were then transferred to working scale drawings, which were in turn executed by scenic artists; Jon Smith, Greg Senner and David Mintz of Sole Scenic, based in Orlando, Florida.. Sole Scenic spent one month executing the hand painted 40,000 square foot façade.

A large photographic mural of the project was included in Pardo’s 2007 survey at the Museum of Contemporary Art, North Miami.

Today the mural continues to breath life and vitality into an otherwise industrial neighborhood.