Jeffrey Joyal Jared Madere LISTE June 13-17, 2017 Burgweg 15 4058 Basel Stand 0/9/3 David Lewis +1 212 966 7990 88 Eldridge Street, Fifth Floor, New York, NY 10002 info@davidlewisgallery.com www.davidlewisgallery.com
Jeffrey Joyal Joyal is a New York-based artist working primarily in sculpture, often mixing organic, perishable, and synthetic materials to create corporeal, beguilingly surreal tableaus. His most recent works, exemplified by Leaky Tom (2016) incorporate found historical objects (WWII era cots), latex casts of tin ceilings and tile floors from abandoned NY interiors, and continue Joyal s interest in lamps and unusual light sources; here combining the artist s interest in readymades (the Edison lightbulb) with live or animal forms (taxidermy turkey head), and the uneasy feeling that the juxtaposition of these disparate objects produces. Biography Jeffrey Joyal was born in 1988 in Boston, MA and lives and works in New York, NY. Recent solo exhibitions include Raze the Little Feelers, David Lewis, New York, NY (2016). Selected group exhibitions include The Leftovers, curated by Franklin Melendez and Romain Dauriac, Simon Lee Gallery, New York (2017); CONDO, Emalin, London (2017); Eric Schmid is an Idiot, organized by Kavita B Schmid and What Pipeline, Cave, Detroit, Michigan (2017); Hütti, an installation by Veit Laurent Kurz & Ben Schumacher, MINI/Goethe- Institut Curatorial Residencies Ludlow 38, New York, NY (2017); Tre Amici, organized by Eleanor Cayre, Jacob King, and Alex Zachary, Tre Amici, Long Branch, NJ (2016); These Are Not My Horses, curated by Alexander Shulan, James Fuentes, New York, NY (2015); The Story of O(OO), David Lewis, New York, NY (2015); Pérez Art Museum Miami, Miami, FL (2015); All the Food is Poison with Valerie Keane, Bedstuy Love Affair, Brooklyn, NY (2014); among others. Joyal received his BFA from Bard College in 2011.
Jeffrey Joyal Jeffrey Joyal Funny Games 2016 MDF, canvas, knockout carnival game piece, woodland tactical netting, fringe, trim, hardware 28 x 26 x 6 1/2 inches 71.1 x 66 x 16.5 cm JJ029
Jeffrey Joyal Jeffrey Joyal, Funny Games, (alternate view), 2016, JJ029
Jeffrey Joyal Jeffrey Joyal Leaky Tom 2016 found cot, latex, cotton, taxidermy turkey head, light bulb, electrical components Overall dimensions: 16 x 77 1/2 x 30 inches 40.6 x 196.9 x 76.2 cm Dimensions for each component Lamp: 16 1/2 x 6 inches 41.9 x 15.2 cm The cord height is variable. Cot: 14 x 77 x 30 1/2 inches 35.6 195.6 x 77.5 cm JJ016
Jeffrey Joyal Jeffrey Joyal, Leaky Tom (detail), 2016, JJ016
Jared Madere Biography Jared Madere (b. 1986, New York) lives and works in New York. Recent solo exhibitions include Islands in the Stream, David Lewis, New York (2016); White Flag Projects, St. Louis, MO (with Jake Cruzen) (2016); Whitney Museum of American Art, New York (2015) and Armada, Milan (2015). Group exhibitions include The Story of O(OO) David Lewis, New York (2015); Le Magasin, Grenoble, France (2014); Croy Nielsen, Berlin (2014); Bortolami, New York (2014); Michael Thibault Gallery, Los Angeles (2013); and White Columns, New York (2011), among others. Madere is also the founder of Bed-Stuy Love Affair, an artist-run gallery focused on emerging art, which debuted many of the most promising artists of his generation, including Darja Bajagic, Rochelle Goldberg, Maggie Lee, Win McCarthy, and others. His work is in the collection of the Whitney Museum of American Art, New York. He received his BFA from the School of the Art Institute of Chicago in 2009.
Jared Madere, The Tapestries The LISTE booth will debut two of Madere s new tapestries. Lion Lamb and Cloud III are cinematic digital narratives printed on synthetic silk. They are presented in anticipation of the artist s upcoming (July 2016) commission for Liberty of London. Tasked with creating a monumental work for the store s famous atrium, Madere will install an enormous tapestry, with a similar digitized kaleidoscope of images printed on synthetic silk. The Liberty tapestry will be suspended from a barge with alternating rows of faux roses and rainbow bells. On either side it will be flanked by hitchhiker angels, each one holding a bag with a dripping LED icicle. The Liberty commission continues Madere s extraordinary innovations in monumental sculpture and installation, which began in the Grenoble exhibition DOOM SURFACE in 2014 and continued, most prominently, at the Whitney Museum of American Art in 2015. [Madere s] fantastical composition does not stem from a Surrealist unconscious or from a trip down a rabbit hole of online image searches. Instead, it extends in part from an idea of potential and possibility as interpreted through a layman s read of astrophysics and theoretical physics. If more than one universe exists and if string theory opens the door to more than four dimensions, how does that affect our conception of what is real or possible? For Madere, an acknowledgement of multiple universes and dimensions allows his work to be a more accurate response to the powers that be, whether they are laws of physics or higher beings. Christopher Lew, Associate Curator, Whitney Museum of American Art
Jared Madere Jared Madere Melbaumme 2017 Thermal transfer vegetable ink on synthetic silk Overall: 240 x 96 inches 609.6 x 243.8 cm Height variable Unique JM065
Jared Madere Jared Madere, Melbaumme(detail), 2017, JM065
Jared Madere Jared Madere Vevvlechevevevuiyn Vevvlechevevevueun Vevvlechevevevueum 2017 Thermal transfer vegetable ink on synthetic silk Overall: 240 x 96 inches 609.6 x 243.8 cm Height variable Unique JM064
Jared Madere Jared Madere, Vevvlechevevevuiyn Vevvlechevevevueun Vevvlechevevevueum (detail), 2017, JM064
Jared Madere Jared Madere Untitled 2016 cast vinyl on aluminum 71 x 95 x 18.5 inches 180.3 x 241.3 x 47 cm Edition 1 of 1, with 1 AP JM020
Jared Madere Jared Madere, Untitled (detail), 2016, JM020
Jared Madere Jared Madere Toddler (Carambola Sour Star) 2016 UV print on metallized BoPET and synthetic silk 37 x 32 x 13 inches 94 x 81.3 x 33 cm JM035
I love these birds and I love the sky... my attempt at probing the possibility of spiritual feeling within paintings that speak a certain referential language is simply an offering dedicated on the altar of contemporary art...is it possible to hold both the spiritual infinite and a moralistic critique of ideology in mind at the same time? Does it sacrifice one s sense of irony to put it on the altar for a while? Irony implies critique, devotion implies belief., May 2017 Biography (b. 1983, Massachusetts) lives and works in New York. Recent solo exhibitions include, curated by Fabrice Stroun, Musée d art moderne et contemporain (MAMCO) (2017), Genève; Music of the Spheres, Galerie Francesca Pia, Zürich (2017); David Lewis, New York (2016 and 2014); Balice Hertling, Paris (2013); Balice Hertlng & Lewis, New York (2012); VAVA, Milan (2012); Everest/Foundation Gutzwiller, Zurich (2011); Contemporary Art Museum, St. Louis (2010); Swiss Institute, New York (2008), among others. Group exhibitions include Greater New York, MoMA PS1 (2015); Kiev Biennial, The School of Kyiv, Ukraine (2015); Looking Back: The 9th White Columns Annual (2015); Bad Conscience curated by John Miller, Metro Pictures, New York (2014); David Lewis, New York (2013); Blum and Poe, Los Angeles (2012); Greene Naftali, New York (2010); Swiss Institute, New York (2009); Miguel Abreu Gallery, New York (2009); and Daniel Reich Gallery, New York (2005); among others. His work is in the collection of the Cleveland Museum of Art, Cleveland, OH and Musée d art moderne et contemporain (MAMCO), Genève. Smith s first monographic catalog published by JRP-Rignier is forthcoming in 2017. Smith received his MFA from Columbia University in 2007.
Sulphur-crested Cockatoo with Radiance 2017 oil and jewels on canvas 46 x 46 inches 116.8 x 116.8 cm GPS019
, Sulphur-crested Cockatoo with Radiance (detail), 2017, GPS019
Crepuscular seascape with masks I, II, & III 2016 ink on paper 7 3/4 x 28 1/2 inches 19.7 x 72.4 cm GPS653
, Crepuscular seascape with masks I, II, & III (detail), 2016, GPS653
At the mouth of a cave: selfless 2016 Ink on paper 7 3/4 x 10 3/4 inches 19.7 x 27.3 cm GPS652
At the mouth of a cave: deathless 2016 Ink on paper 7 3/4 x 10 3/4 inches 19.7 x 27.3 cm GPS651
At the mouth of a cave: no world 2016 Ink on paper 7 3/4 x 10 3/4 inches 19.7 x 27.3 cm GPS650
Anatomy for the Artist: these works suggest a violence that radiates from a dark inner anatomy, to burn in the bright frame of their painted environment 2016 Ink on paper 7 3/4 x 10 3/4 inches 19.7 x 27.3 cm GPS649
Anatomy for the Artist: the smooth expanse of the woman s skin and the curved forms of her back and hips are constructed of solidified light that melts into the moist air around her 2016 Ink on paper 10 3/4 x 7 3/4 inches 27.3 x 19.7 cm GPS648
Untitled (butterflies) 2016 Ink on paper 7 3/4 x 10 3/4 inches 19.7 x 27.3 cm GPS642
Untitled (butterflies) 2016 Ink on paper 7 3/4 x 10 3/4 inches 19.7 x 27.3 cm GPS643