Frederick Weston, I'm In Here Somewhere, 2005, Plaster and acrylic, 10 x 6 x 5 inches
Matt Keegan, Purple Template, 2017, Paper, 16 1/4 x 11 1/4 inches
Frederick Weston, Money Man, 2017, Mixed media collage on paper, 77 x 30 inches
Siobhan Liddell, Untitled, 2017, Detail
Siobhan Liddell, Tear, 2017, Paper, brass wire, wood. Dimensions variable
Matt Keegan, SOS, 2017, Spray finished laser cut steel, 32 1/2 x 23 1/4 x 3 1/2 inches
Frederick Weston, My Doll is Just Like Me, 2016, Detail
Siobhan Liddell, Cut and Hold, 2014, Canvas, paper, acrylic, 28 x 18 x 3 1/2 inches
Inside Pink, Seamless paper, drywall, pushpins
Matt Keegan was born in Manhasset, New York, and lives and works in Brooklyn, New York. His solo exhibition, Generation, was presented at Participant Inc, New York, earlier this year. An iteration of Generation, titled Replicate, will open at the Carpenter Center of Visual Arts in Cambridge, Massachusetts, in October. In January, A Traveling Show (with Kay Rosen) closed at the Contemporary Arts Museum, Houston. This exhibition began in Austria as Eine Wanderausstellung (A Traveling Show) at Grazer Kunstverein, Graz. Recent group exhibitions include The Artist’s Museum at the Institute for Contemporary Art, Boston; The Sun Placed in the Abyss at the Columbus Museum of Art, Ohio; We Are the Center for Curatorial Studies at CCS Bard Hessel Museum; Reconstructions: Recent Photographs and Video from the Met Collection, the Metropolitan Museum of Art, New York; and Storylines: Contemporary Art at the Guggenheim, Guggenheim Museum, New York. A monograph, OR, was copublished by Inventory Press in conjunction with Keegan’s 2015 solo show, Portable Document Format, at Rogaland Kunstsenter, Stavanger, Norway. Keegan is the cofounding editor and publisher of North Drive Press (2004–2010) and founding editor of == (2012 and 2014).
Siobhan Liddell was born in Worksop, England, and lives and works in New York City. She is a graduate of Central Saint Martins School of Art in London. In addition to being exhibited regularly in New York City, Liddell’s work has been featured in the 1996 Whitney Biennial; the Yokohama Triennale; the Henry Moore Institute in Leeds, England; the UCLA Hammer Museum in Los Angeles; the Musée d’Art Moderne de la Ville de Paris; the Contemporary Arts Museum, Houston; and CCA Kitakyushu, Japan. Her work is in the collections of the UCLA Hammer Museum, the Whitney Museum of American Art, and the Dallas Museum of Art. She has collaborated with artists, dancers, and musicians and was the recipient of the Rome Prize, Vera List Fellowship, and the Joan Mitchell Foundation Award.
Frederick Weston was born in Memphis, Tennessee, and raised in Detroit, Michigan, and currently lives and works in New York City. He is a self-taught artist who studied fashion design and participated in the club scene in Detroit before moving to New York to enter the world of art and fashion in the mid 1970s. He is a prolific designer and interdisciplinary artist working in varied media: drawing, collage, sculpture, photography, performance, and creative writing. He has developed a vast and elaborate archive of images and ephemera related to fashion, the male body, queer subjects, and advertising. Weston’s work has been included in numerous exhibitions and programs with Visual AIDS including panels at La Mama Gallery and the Whitney Museum of American Art in New York. In June 2017, his work will be featured in Found, an exhibition curated by Avram Finkelstein, at the Leslie-Lohman Museum of Gay and Lesbian Art in New York City. A recently completed oral history with Weston, by Ted Kerr, was conducted for the Archives of American Art’s Visual Arts and the AIDS Epidemic: An Oral History Project.
Matt Keegan, Siobhan Liddell, Frederick Weston
May 7 – June 18, 2017
Gordon Robichaux is pleased to present CUT HERE, a three-person exhibition and installation including artworks by Matt Keegan, Siobhan Liddell, and Frederick Weston.
CUT HERE evokes a clip art image of a dotted line and scissors. The graphic directs a deliberate cut—process made visible—invoking an urgent site of transformation and presence where gesture and material meet. Cutting, tracing, folding, pasting, papering, recontextualizing: each gesture fragments and creates, adds and subtracts, and articulates a new relationship of positive and negative space.
On the outside wall of the gallery hangs a roll of pink seamless backdrop paper with a rectangular shape cut out for the door. Directly across from the opening, the pink paper door hangs on a sheet of propped-up drywall, suggesting an architectural constraint. And another door. The intervention frames the space, the viewer, and the objects within.
Matt Keegan’s color-bright, laser-cut steel sculptures are scaled enlargements of folded, cut, and unfolded paper templates. On one wall, an unframed piece of purple paper—cut with abstract shapes—reveals the intimacy and immediacy of his process. Another work, a piece of cut and bent steel, explodes text and form out into space: a signal composed of yellow and shadows, calling out and repeating SOS.
Siobhan Liddell transforms humble materials through simple gestures, creating a poetic cosmology of intuition, emotion, and experience made visible with paper, string, sticks, glue, paint, and bamboo. Leaning against the wall, three shapes that resemble waves are teased up on sticks like water by the wind. Nearby, a paper teardrop suspended in space— its form a memory of a balloon filled with water. A cellular, honeycomb form is composed of cut bamboo and marigolds. Each object is both a fragment of a larger world and whole and complete in itself.
Frederick Weston extracts, categorizes, reproduces, pastes, and transplants images. He organizes them in an elaborate and highly subjective system of binders, plastic sleeves, and boxes. His archive is an image bank of personal and cultural references from which he culls material for his collages. Installed on a shelf, an eight-part work is an elaborate composite of real and fictional identities—identification and idealization—characters developed across the panels and in his related creative writing. In his paper figure, Money Man, images of green bills fill, circulate within, and exceed Weston’s own drawn and cut silhouette; a currency of color and power.
In conjunction with the exhibition, Gordon Robichaux will host ADULT CONTEMPORARY—a mobile reading and performance series curated by Svetlana Kitto and Katherine Brewer Ball—on Sunday, June 4th at 3:00. The salon-style event will include readings by Matt Keegan, Siobhan Liddell, and Frederick Weston.
Frederick Weston, My Doll is Just Like Me, 2016, Mixed media collage on eight panels, 30 x 20 inches (each panel)
Siobhan Liddell, Waves, 2017, Paper, bamboo, and glue, Dimensions variable
Siobhan Liddell, Untitled, 2017, Bamboo, glue, string, pins, and marigolds, 63 x 26 x 3 inches
Frederick Weston, My Doll is Just Like Me, 2016, Detail