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'You Likey?' by Joe W. Speier at King’s Leap, New York

You Likey is Joe W. Speier’s first exhibition at King’s Leap. In eight new works, Speier extends his painting vocabulary, which has up to this point featured store-bought craft materials such as Bic ballpoint pen, acrylic medium, glitter, metal beads, and wax. Across these works, Speier has appropriated images of drawings sourced from various websites by unknown non-artists. These vulnerable and crude drawings are blown up to canvas-sized proportions, wherein Speier re-inscribes the image pixel-by-pixel. When the image is complete, Speier secures it with a resinous material releasing the image’s pixelation, ghosting and blurring Speier’s meticulous pen-lines. On top, Speier employs his self described “canned expressionism,” itself a performative gesture of the artist caught between authenticity, sarcasm, guilt, and compliance.

An excerpt from Ellis von Sternberg's exhibition essay, available at the gallery:

" [...] how Speier happens upon the digital images is, ironically, with an indifference to why and how the images themselves were made. And other than their similarities in unskilled mark-making and a seemingly morbid anxiety, the websites pass before Speier’s eye as little else than a bemusing and cringey tableau. Distance gives way to indifference; so in an attempt to bridge that divide Speier simulates and intensifies the initial labor through his own process of enlarging, projecting, and transcribing the “original” image onto his canvases. But with every inch pressed closer to the canvas, through this system Speier can only experience the original labor in an outward appearance. The truth of the image escapes him. Painting itself asymmetrically determines the content it represents in paint, and that determination excuses the inconvenient remainders. He remains alienated. How can Speier, as the painter himself, hope to understand his source material beyond their predetermined incorporation into his own system of image appropriation; a system that is itself just a cog in a larger machinery called art history?"

26.3.21 — 24.4.21

King’s Leap

'Chatter 'round the pond', Group Show at Cantina, Aarhus

'Van Life' by Egon Van Herreweghe at Croxhapox, Gent

'WERKK.WERKK. LIVERPOOL.PAINTING.' by Victor Boullet at Lubov, New York

'CRUSH' by Artem Briukhov at CHIRKOV Gallery, Birsk

'Burn the Rain' by Troy Barrett at Smart Objects, Los Angeles

'KALON GLAZ' by Victoria Palacios at Panamax, Liège

'Bodiesbodies', Group Show Curated by Lucrezia Galeotti and Giacomo Pigliapoco at

'la fiebre de las formas', Group Show at Colette Mariana, Barcelona

'Sunsets', Group Show at Everybody, Tucson

'Bushels of Goodness and Warmth' by Jordan Derrien at V.O Curations, London

'Etica, Tecnica e Pathos' by Marco Strappato at The Gallery Apart, Rome

'200 km/h in the Wrong Lane' by Mona Filleul at SIS123, La Chaux-de-Fonds

'Come Hell or High Water' by Rosario Aninat and Simon Shim Sutcliffe at Mutter, A

'PCS: Post Concrete Semiotics' by Skygolpe at Nighttimestory, Los Angeles

'Wardrobing' by Mitchel Cumming at Disneyland Paris, Perth

'Ouverture', Off-Site Show by Karina Azizova, Moscow-Istanbul-Paris

'Millennium Approaches' by Cole Lu at Nir Altman, Munich

'Momenti della verità' by Giulio Paolini at Galleria Massimo Minini, Brescia

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