October 21st, 2014

Ron Terada at Catriona Jeffries

Ron Terada at Catriona Jeffries

Artist: Ron Terada

Venue: Catriona Jeffries, Vancouver

Exhibition Title: Jack

Date: September 19 – October 25, 2014

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Ron Terada at Catriona Jeffries

Ron Terada at Catriona Jeffries

Ron Terada at Catriona Jeffries

Full gallery of images, press release and link available after the jump.


Images courtesy of Catriona Jeffries, Vancouver

Press Release:

Catri­ona Jef­fries is pleased to announce an exhi­bi­tion of Ron Terada’s new series of paint­ings, Jack. Ini­ti­ated in 2009 while on res­i­dency at the Banff Cen­tre, Ter­ada began the project of paint­ing the six spe­cific chap­ters from the book Jack Gold­stein and the CalArts Mafia that had been writ­ten by the Amer­i­can artist Jack Gold­stein, before his untimely sui­cide in 2003. The book chron­i­cles Goldstein’s life as an artist while at the same time chart­ing the emer­gence of artists from CalArts in the 70s, and their migra­tion to New York and the sub­se­quent fail­ures and suc­cesses of artists from the period. Writ­ten with cring­ing hon­esty, Goldstein’s writ­ing reveals the arche­typal pathos and tragedy of his own life, pre­sented as the ulti­mate myth­i­cal tale of the genius artist mar­tyred by the ego and star-driven work­ings of the 1980s art world.

Jack rep­re­sents a mate­r­ial loop back to Terada’s early paint­ings that he pro­duced through­out the 90s, which marred the mono­chrome with ephemeral, tex­tual ready-mades found within the art world (Ad Paint­ings, made from Art­fo­rum adver­tise­ments from the 80s), clas­si­fied ads (Per­sonal Paint­ings) and Terada’s own high­school year book (Grey Paint­ings). Ten years on, the Jack paint­ings speak to an influ­en­tial period of art-making, but elab­o­rate on the role that com­mer­cial inter­ests and social net­works have in the pro­duc­tion of such a his­tory. Gold­stein didn’t adhere to a clear chronol­ogy in his writ­ing for the book and Ter­ada sim­i­larly hasn’t fol­lowed any par­tic­u­lar order in the process of paint­ing each chap­ter. The paint­ings in the exhi­bi­tion present two com­plete chap­ters from the book, where Gold­stein writes about his early life grow­ing up as a teenage out­sider in Mon­treal and his sub­se­quent art edu­ca­tion at the Chouinard Art Insti­tute, which later became CalArts, in Los Ange­les. He writes as much about his own life as he does about the char­ac­ters and con­di­tions that sur­rounded him and the deep influ­ence artists such as John Baldessari, through his teach­ing at CalArts, had on stu­dents at the time.

Through Jack Ter­ada con­sid­ers the ever-pervasiveness of paint­ing as a pri­mary medium, not only through his choice to pro­duce the work as a series of paint­ings, but also as Gold­stein specif­i­cally speaks to the eco­nomic moti­va­tion behind his deci­sion to switch from a post-studio prac­tice to mak­ing paint­ings, as he felt he ‘had to address the gallery sys­tem’ to be known as an artist, or at least to make a liv­ing by doing so. Ter­ada may be con­sid­er­ing whether or not the same notion remains, as the paint­ings ambiva­lently acknowl­edge the moti­va­tions that lie beyond the pri­macy of the idea in the pro­duc­tion of a work of art. They also speak to an artist’s per­son­al­ity becom­ing tan­ta­mount to an artist’s work, as Gold­stein was told to drop his atti­tude by many of those around him, that charisma and charm would go a long way in help­ing his career. Terada’s Jack con­sid­ers the sta­tuses attrib­uted to suc­cess and how they man­i­fest, (con­cep­tu­ally sim­i­lar to his 2003 project Cat­a­logue). Goldstein’s trou­bled life is for­ever teth­ered to the read­ing of his work and iron­i­cally, the anx­i­ety that Gold­stein expe­ri­enced from con­stantly shift­ing from one medium to another in the mak­ing of his paint­ings, videos and records are what have now secured him as an impor­tant fig­ure within recent art history.

Link: Ron Terada at Catriona Jeffries

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