Jack Fischer Gallery is pleased to present "park drive", the second solo exhibition with the gallery by New Mexico based artist, Ted Larsen. Join us for the opening reception on Saturday, April 20, from 4:00 to 6:00 p.m. at our Minnesota Street Project gallery. The exhibition will be up through May 25, 2019.
park drive shows a series of new pieces implementing the artist's technique of seeking salvage material from unusual “non-art materials” such as old auto body parts, furniture, and industrial equipment. By re-purposing these materials he creates new kinds of ready-made abstract sculptures that are surprisingly elegant and, at the same time, makes fun of modernist purity.
“Memory is a funny thing. We lose it little by little over time, away from events and circumstances that made impressions upon us. We can also invent or embellish our memories of things over time. Going even further, we can cross-match our remembrances, creating new, fictitious memories. All of the circumstances around memory have a common thread—erasure.
"I work with materials that have memories of their own previous existence, and yet I deny these histories. I use them in service of a different memory: art’s history. The difference between Art History and art’s history is the former concerns itself with the progression of art through the history of mankind while the latter is interested in how art possesses our history. I use these pre-made surfaces and elements to speak to and challenge our known ideas of art’s history. That act of possession itself becomes a sort of relative position, one in which fiction can play a role.
"I deconstruct elements of European and American-based formalism and rebuild them with parts coming out of a decidedly Asian aesthetic. In the process, by eliminating aspects of some of these histories, I am creating a new, blended historical trajectory."
- Ted Larsen
show less
park drive shows a series of new pieces implementing the artist's technique of seeking salvage material from unusual “non-art materials” such as old auto body parts, furniture, and industrial equipment. By re-purposing these materials he creates new kinds of ready-made abstract sculptures that are surprisingly elegant and, at the same time, makes fun of modernist purity.
“Memory is a funny thing. We lose it little by little over time, away from events and circumstances that made impressions upon us. We can also invent or embellish our memories of things over time. Going even further, we can cross-match our remembrances, creating new, fictitious memories. All of the circumstances around memory have a common thread—erasure.
"I work with materials that have memories of their own previous existence, and yet I deny these histories. I use them in service of a different memory: art’s history. The difference between Art History and art’s history is the former concerns itself with the progression of art through the history of mankind while the latter is interested in how art possesses our history. I use these pre-made surfaces and elements to speak to and challenge our known ideas of art’s history. That act of possession itself becomes a sort of relative position, one in which fiction can play a role.
"I deconstruct elements of European and American-based formalism and rebuild them with parts coming out of a decidedly Asian aesthetic. In the process, by eliminating aspects of some of these histories, I am creating a new, blended historical trajectory."
- Ted Larsen
Jack Fischer Gallery is pleased to present "park drive", the second solo exhibition with the gallery by New Mexico based artist, Ted Larsen. Join us for the opening reception on Saturday, April 20, from 4:00 to 6:00 p.m. at our Minnesota Street Project gallery. The exhibition will be up through May 25, 2019.
park drive shows a series of new pieces implementing the artist's technique of seeking salvage material from unusual “non-art materials” such as old auto body parts, furniture, and industrial equipment. By re-purposing these materials he creates new kinds of ready-made abstract sculptures that are surprisingly elegant and, at the same time, makes fun of modernist purity.
“Memory is a funny thing. We lose it little by little over time, away from events and circumstances that made impressions upon us. We can also invent or embellish our memories of things over time. Going even further, we can cross-match our remembrances, creating new, fictitious memories. All of the circumstances around memory have a common thread—erasure.
"I work with materials that have memories of their own previous existence, and yet I deny these histories. I use them in service of a different memory: art’s history. The difference between Art History and art’s history is the former concerns itself with the progression of art through the history of mankind while the latter is interested in how art possesses our history. I use these pre-made surfaces and elements to speak to and challenge our known ideas of art’s history. That act of possession itself becomes a sort of relative position, one in which fiction can play a role.
"I deconstruct elements of European and American-based formalism and rebuild them with parts coming out of a decidedly Asian aesthetic. In the process, by eliminating aspects of some of these histories, I am creating a new, blended historical trajectory."
- Ted Larsen
read more
park drive shows a series of new pieces implementing the artist's technique of seeking salvage material from unusual “non-art materials” such as old auto body parts, furniture, and industrial equipment. By re-purposing these materials he creates new kinds of ready-made abstract sculptures that are surprisingly elegant and, at the same time, makes fun of modernist purity.
“Memory is a funny thing. We lose it little by little over time, away from events and circumstances that made impressions upon us. We can also invent or embellish our memories of things over time. Going even further, we can cross-match our remembrances, creating new, fictitious memories. All of the circumstances around memory have a common thread—erasure.
"I work with materials that have memories of their own previous existence, and yet I deny these histories. I use them in service of a different memory: art’s history. The difference between Art History and art’s history is the former concerns itself with the progression of art through the history of mankind while the latter is interested in how art possesses our history. I use these pre-made surfaces and elements to speak to and challenge our known ideas of art’s history. That act of possession itself becomes a sort of relative position, one in which fiction can play a role.
"I deconstruct elements of European and American-based formalism and rebuild them with parts coming out of a decidedly Asian aesthetic. In the process, by eliminating aspects of some of these histories, I am creating a new, blended historical trajectory."
- Ted Larsen
show less
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1275 Minnesota Street, San Francisco, CA 94103
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