Expo Chicago 2022, 7 – 10 April 2022
Timothy Taylor is pleased to present our 2022 Expo Chicago booth, featuring a diverse selection of works by seventeen artists: Daniel Crews-Chubb, Armen Eloyan, Philip Guston, Alex Katz, Jonathan Lasker, Eddie Martinez, Gabriel de la Mora, Richard Patterson, Sean Scully, Kiki Smith, Eduardo Terrazas, Annie Morris, Anselm Kiefer, Chris Martin, Sahara Longe, Honor Titus and Ding Yi. Together, these artists embody the balance between early-career contemporary artists and established post-war figures that is a hallmark of the gallery’s singular visual program, raising questions about changing approaches to figuration and abstraction; explorations of materiality; and evolving perspectives across successive generations on how to chronicle the human experience.
Alex Katz has refined a bright economy of vision based on colour and line, distilling the essence of
mid-century America, while the late post-war artist Philip Guston’s monochrome works-on-paper showcase the artist’s iconoclastic personal lexicon of light bulbs, books, clocks, cities, cigarettes and nails in surreal motifs related to issues of violence and race relations. Paralleling this exploration of material elements, German artist Anselm Kiefer reflects upon the chilling legacy of the Third Reich in grand epics of life, death and the cosmos, echoing the physical weight of history and its deep ancestral guilts.
Eddie Martinez filters myriad references to COBRA and Abstract Expressionism through a startlingly contemporary prism of vision, incorporating enamel, spray paint, oil and found objects to express a chaotic landscape of images, information and material detritus; similarly building on material objects, Mexican artist Gabriel de la Mora constructs visual works from found, discarded and obsolete materials, creating minimal surfaces that embody a conceptual rigor concerned with destiny and embedded information. Encompassing painting, sculpture and spatial installation, Ding Yi has been making abstract paintings exploring urban infrastructure and optical illusions since the late 1980s.
Honor Titus explores isolation, nostalgia and athletic movement through carefully staged social rituals in bright, surreal scenes. Gleaming with glaze and rare pigments, Sahara Longe’s velvety portraits spotlight Black friends and family members, subtly suggesting the many paths and experiences still to be explored in contemporary painting.
Abstract artists Sean Scully, Eduardo Terrazas, Jonathan Lasker and Chris Martin use personal ciphers to ask universal questions about the purpose of art and information today. In Sean Scully, the geometric constructivism and painterly atmosphere come together in luminously balanced compositions blending emotion and reason, while Lasker’s canvases, playfully adorned with squiggles of impasto in bright pastels, prompt theoretical musings on the structure of language.
Martin’s works combine paint, glitter and collage in snapshots of our era, effortlessly fusing the heartrending beauty of the rising sun with the jittery, addictive, gulped-down quality of Pop culture. Architect, urban designer and artist Eduardo Terrazas compares ancient Latin American societies to contemporary Western globalisation within Modernist frameworks through arresting yarn paintings, reimagining the tabla, a sacred art form indigenous to the Mexican Huichol community, in complex geometries about the vastness of the cosmos.
Spanning towering jewel-toned sculptures, vivid tapestries and oil-pastel drawings, Annie Morris’ practice encapsulates profound meditations on loss, trauma, hope and rebirth to articulate the complex emotions accompanying motherhood and childbirth. American artist Kiki Smith’s interest in myths of creation is sustained in her bronze and tapestry depictions of animals, which often appear as allegorical figures uniting the human and non-human natural world.
In his experimental collage-based paintings, Daniel Crews-Chubb explores the human figure as an angled, almost cubic form, mining Greek mythology, Instagram trends and the portraiture of Egon Schiele. Richard Patterson’s recent abstract paintings combine the painterly expansiveness of gestural abstraction with an intimate scale that draws the viewer in.
Alex Katz has refined a bright economy of vision based on colour and line, distilling the essence of
mid-century America, while the late post-war artist Philip Guston’s monochrome works-on-paper showcase the artist’s iconoclastic personal lexicon of light bulbs, books, clocks, cities, cigarettes and nails in surreal motifs related to issues of violence and race relations. Paralleling this exploration of material elements, German artist Anselm Kiefer reflects upon the chilling legacy of the Third Reich in grand epics of life, death and the cosmos, echoing the physical weight of history and its deep ancestral guilts.
Eddie Martinez filters myriad references to COBRA and Abstract Expressionism through a startlingly contemporary prism of vision, incorporating enamel, spray paint, oil and found objects to express a chaotic landscape of images, information and material detritus; similarly building on material objects, Mexican artist Gabriel de la Mora constructs visual works from found, discarded and obsolete materials, creating minimal surfaces that embody a conceptual rigor concerned with destiny and embedded information. Encompassing painting, sculpture and spatial installation, Ding Yi has been making abstract paintings exploring urban infrastructure and optical illusions since the late 1980s.
Honor Titus explores isolation, nostalgia and athletic movement through carefully staged social rituals in bright, surreal scenes. Gleaming with glaze and rare pigments, Sahara Longe’s velvety portraits spotlight Black friends and family members, subtly suggesting the many paths and experiences still to be explored in contemporary painting.
Abstract artists Sean Scully, Eduardo Terrazas, Jonathan Lasker and Chris Martin use personal ciphers to ask universal questions about the purpose of art and information today. In Sean Scully, the geometric constructivism and painterly atmosphere come together in luminously balanced compositions blending emotion and reason, while Lasker’s canvases, playfully adorned with squiggles of impasto in bright pastels, prompt theoretical musings on the structure of language.
Martin’s works combine paint, glitter and collage in snapshots of our era, effortlessly fusing the heartrending beauty of the rising sun with the jittery, addictive, gulped-down quality of Pop culture. Architect, urban designer and artist Eduardo Terrazas compares ancient Latin American societies to contemporary Western globalisation within Modernist frameworks through arresting yarn paintings, reimagining the tabla, a sacred art form indigenous to the Mexican Huichol community, in complex geometries about the vastness of the cosmos.
Spanning towering jewel-toned sculptures, vivid tapestries and oil-pastel drawings, Annie Morris’ practice encapsulates profound meditations on loss, trauma, hope and rebirth to articulate the complex emotions accompanying motherhood and childbirth. American artist Kiki Smith’s interest in myths of creation is sustained in her bronze and tapestry depictions of animals, which often appear as allegorical figures uniting the human and non-human natural world.
In his experimental collage-based paintings, Daniel Crews-Chubb explores the human figure as an angled, almost cubic form, mining Greek mythology, Instagram trends and the portraiture of Egon Schiele. Richard Patterson’s recent abstract paintings combine the painterly expansiveness of gestural abstraction with an intimate scale that draws the viewer in.
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