Photo:  Glynnis McDaris

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Michael Williams

“Montgomery’s Tubercles”

Opening Wednesday, November 16, 6 – 9 PM

November 16 – December 18 2011

The Journal Gallery is pleased to present “Montgomery’s Tubercles,” an exhibition of new paintings by Michael Williams.

Perhaps in stenciling their hands those Spanish cavemen were looking forward through history, to the cities and machines that hands like theirs would one day build. Dialoguing through time, Williams uses airbrush-stenciled footprints as a visual device in the paintings here. By stenciling his feet, the hand’s clunkier cousin, Williams might be mocking the aspirational caveman and pointing out the failures of human civilization.

Thankfully, Williams undermines this pessimistic thesis when, with a few extra lines from the airbrush, the almost photographic images of feet are transformed into goofy creatures and people in domestic scenes. In the spirit of the Thanksgiving tradition of tracing your hand and turning the fingers into turkey feathers, in one canvas Williams transforms the toes of his foot into the tail fins of a lobster.

Here, as in his recent work, Williams paints over the entire airbrush tableau with a semi-transparent film of oil and pigment. This painted blur reduces the immediate visibility of the underlayer’s content, yet in time the objects and patterns divulge themselves, popping out of the ether. The visual experience is akin to how it must be for a newborn to see—without a sense of spatial dynamics, just bearing witness to a pure color field from which the occasional eyeball emerges.

The title of the exhibition, “Montgomery’s Tubercles,” refers to the round bumps in the areola of a woman’s nipple which become more pronounced during pregnancy. First described by Dr. William Fetherstone Montgomery, an Irish obstetrician who died in 1859, Williams uses the term here as an oblique metaphor to paintings on a wall.

Michael Williams lives and works in Brooklyn, New York. Williams’ solo exhibitions include “Straightforward As A Noodle” at CANADA, New York; “Puzzle Paintings” at LTD, Los Angeles; and “Fried Paint” at Galleri Christina Wilson, Copenhagen, Denmark. A conversation between Phil Grauer and Michael Williams appears in entry 31 of the journal. 

In coordination with “Montgomery’s Tubercles,” The Journal Gallery has published the book Michael Williams: Drawings 2007-2011 in an edition of 100, which will be available for purchase during the exhibition. 

Organized by Glynnis McDaris & Julia Trotta in collaboration with Santos friday night installment – Spencer’s Gifs- and honoring Performa11 Hallowed was presented - a very special Halloween Celebration. The night began with the unveiling of a site specific installation made specifically for Santos Party Haus by Swiss artist, Urs Fischer.DJ sets by John Holland & Chances with Wolves paved the way for guised partygoers to a moonlit dance floor, under the faces of Urs Fischer’s installation art, turning what we once knew as Santos into a sight of the unknown. If tricks came in the form of ghouls and vampires on the scene, treats were plenty as performances went on throughout the evening entertaining anyone who caught a glance. The unveiling was followed by a Haunted Painting performance by Tyson Rieder and John Riepenhoff, a dance with an ice block by the collective Yemenwed, a dark and menacing moment from Francis Heinzfeller by Frank Hanes, Hanna Sandin’s shadow puppets, and a couple of staged freak outs in the bathrooms commissioned by Xavier Cha.

The peak of the night was perhaps the Dennis Oppenheim Halloween Costume Contest – guest judged by Iona Rezeal Brown. The winner of the award received a special gift from the Oppenheim studio along with FOUR tickets to Iona Rozeal Brown’s Performa-commissioned piece titled Battle Of Yestermore – a mix of hip hop and kabuki theater, featuring vogueing legends Benny and Javier Ninja from The House of Ninja. The winner was Gavin Brown’s Enterprise Associate Director & co-director of Cleopatra’s Gallery, Bridget Donahue, who dressed none else than a Roy Lichtenstein artwork!

- Marlee Blodgett

 Photo by Billy Miller

Photos by Dustin Bowlin

Photos by Rosalie Knox

Photos by Johnny Misheff

Paul McCarthy’s The Dwarves, The Forests will be on view at Hauser & Wirth New York from November 7th until the December 17th. The opening will be on November 7th from 6-8PM.

Pausing on those words and moving through the online exhibition, I found that each work rang, like a vibration from the past, sounding to preserve some intimate part of a life. Artist’s Shit No.31 by Piero Manzoni is my favorite example, not because of it’s crude sense of humor but because of its sentiment of capturing the waste left behind. It begs the question, what happens when the only material we have of someone is waste? Another evocative part in this group of works is David Adamo’s Anniversary Waltz where a man in a white tuxedo dances alone in a space only otherwise occupied by fallen balloons. He waltzes, arms held carefully in the air, as though he has a partner but no one is there besides the balloons – clear leftovers from a party. Regardless of the intimate rhythmic experience this man is feeling as he dances, the viewer can see he is holding something immaterial – that seemingly isn’t there, but to him is vibrating in his arms.

Perhaps most notable in this investigation of materiality is that the exhibition exists online. Paddle 8 is a website that hosts exhibitions on the internet. Each month the Paddle 8 team invites star curators such as Ambramovic to select works based on a theme, that are to live on the Paddle 8 website as if in a gallery. Members can even purchase works. In the case of this exhibition, the location further challenges the theme, by confronting the psychical space of art commerce – the gallery – with a virtual one. I have never been one to replace the world outside with the world online, but somehow I couldn’t imagine seeing this exhibition in a gallery. Immaterial needs no extra material.

- Jordan Robin