Max Gimblett, Jungle-After Henri Rousseau, 2019, acrylic, resin, Aquasize and platinum white gold leaf on canvas, 70 x 70 inches
The distinctions between Buddhism, Christianity, Hinduism and Taoism are irrelevant to Max Gimblett
, who accepts the Modernist notion of duality as a guiding principle even though the reconciliation of opposites constantly asserts itself in his imagery. As a believer in the practice of meditation to empty the conscious mind and to engage with a pure space, Gimblett in his work may be regarded as coalescing the principle of 'poverty of the spirit' of Christian meditation with the Buddhist notion of 'emptiness,' the 'silence' of Hindiusm and the 'unutterable' of Taoism.
— Anne Kirker, Head of International Art at the Queensland Art Gallery, from her essay "A 'Minimalist' with Passion" from the catalogue to the exhibition Max Gimblett: The Language of Drawing at Queensland Art Gallery, 2002
Max Gimblett: juggernaut Installation View
To view the exhibition in person, please make an appointment for your visit. You will have 40 minutes to see the show privately. You may call the gallery or use our online calendar: calendly.com/hosfelt-gallery
Max Gimblett, The Traveler, 2019, acrylic, resin, Aquasize, and platinum leaf on canvas, 30 x 21 inches
In Conversation: Marcia Reed & Max Gimblett
Wednesday, October 7th at 12 pm PST
Please tune in for a virtual tour of juggernaut and conversation between Marcia Reed, Chief Curator and Associate Director of Special Collections & Exhibitions at The Getty Research Institute and Max Gimblett.
Please email email@example.com to RSVP and receive the Zoom details.
Left: Lordy Rodriguez; Right: Jim Campbell
Jean Conner, OUT OF THE BLUE, 2015, paper collage, 10 7/8 x 8 1/8 inches
— playful, uncanny, formally sophisticated — are knotty riddles in which people, images and places come together in ways that are extraordinary or impossible. Dream-like, they both beg for and resist interpretation. Unraveling their narrative or symbolic meaning is a task she assigns to the viewer.
Max Gimblett, The Golden Virtue of Blue Sky over My New Zealand, 2010,
gesso, acrylic and vinyl polymers, epoxy, Aquasize and Swiss gold leaf on canvas, 60 x 60 inches
“The quatrefoil first appeared in my work in 1983. It came to me in a dream. The quatrefoil said, ‘form me and paint me and I will heal you.’ And I recognized it immediately as a mandala. The quatrefoil is the center of my practice.” — Max Gimblett
The quatrefoil has been a recurring motif in architecture and design for centuries. Listen to 99% Invisible
discuss the history of the quatrefoil in Episode 106: The Fancy Shape
October 17 - November 25
Lordy Rodriguez, Texas 35th, 2020, ink on paper, 44 x 26 inches
Twenty-four years ago, Lordy Rodriguez
(b. 1976, Quezon City, Philippines) started using a visual lexicon of map-based forms as metaphors for defining an individual’s position within a culture or society. For his sixth solo exhibition at Hosfelt Gallery, Rodriguez employs this ever-developing, cartography-inspired vocabulary to ruminate on issues about the immutable appeal of democracy and its very precarious existence.
October 17 - November 25
Driss Ouadahi, Recto-verso, 2020, oil on canvas, 74 3/4 x 66 7/8 inches
As a young man, Algerian artist Driss Ouadahi
immigrated from post-colonial North Africa to study painting at the renowned Kunstakademie in Düsseldorf, Germany. His years as an architecture student combined with his lived experience as an émigré continue to inform his work. In his seventh solo exhibition at Hosfelt Gallery, Ouadahi begins with the simplest of forms — the line — to simultaneously demarcate borders and suggest that established boundaries can be overcome.
Liliana Porter, Canguro/Mono, 2009 (detail), solar print on paper; image 16 x 13 3/4 inches, sheet 31 x 22 1/2 inches, $2,700
The concept of "the disguise" has captivated Liliana Porter
(b. 1941, Buenos Aires) for decades. In this editioned work on paper, Porter playfully explores the idea of true identity versus the face we present to the world.
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