The First Art Newspaper on the Net Established in 1996 United States Monday, September 22, 2014


Exhibition of recent paintings by Karin Kneffel on view at Gagosian Gallery in New York
Karin Kneffel, Untitled, 2012. Oil on canvas, 51 3/16 x 62 inches.© Karin Kneffel. Courtesy Gagosian Gallery. Photography by Robert McKeever"
NEW YORK, NY.- Gagosian Gallery presents an exhibition of recent paintings by Karin Kneffel. This is her first exhibition with the gallery.

Kneffel addresses the threshold between interior and exterior, and real and fictive space through a sophisticated play on reflectivity, opacity and transparency. Seaming together heterogeneous spaces and times in a flawlessly executed, seductively realist manner, she paints pictures that are perfectly constructed impossibilities. Although many of her sources actually exist, her image is first and foremost a surface, highlighting painting’s simultaneous ability to uphold and destroy illusions.

In these mannered pictorial spaces, Kneffel’s superb painting technique moves between materialization and dematerialization. On a quadruple—grounded canvas, she applies up to four layers of oil paint with the finest brush. Like veils, each covers the entire surface. Should she decide to change any element, it has consequences for the entire organization of the image. Her acute handling of rich color, texture, form, and space is resolutely apparent, equal to the visual games and enigmas that pervade Rococo and Mannerist painting, yet firmly rooted, formally and conceptually, within the vernacular information of her own time.

In 2009, Kneffel presented an exhibition at the Kunstmuseen Krefeld in Germany, which is housed in a pair of significant modernist villas, Haus Lange and Haus Esters, designed by Ludwig Mies van der Rohe. Inspired by the architecture and its histories, Kneffel began an on-going series of paintings that conflate the various phases of the buildings into coherent yet ‘slippery’ scenes. In several paintings, the original owner’s somewhat incongruous, interior furnishings form the background depiction, which is then overlaid with spectral images of lamps and chairs designed by Lilly Reich and Mies that are actually more consistent with the style and ethos of the building. Added to these disjunctive interiors, a third layer of raindrops and rivulets on the plate-glass windows mirrors the external landscape, setting up confounding spatial relations. Thus Kneffel maps the distinction between historical actuality and historical idealism as a glimmering palimpsest of memory. It would seem that not only has she found potent subject matter in the open and dynamic architectural structures of Mies, but also a conceptual equivalent that allows her to work though her own concerns with painting.

In another body of work, prompted by a trip to New York last year, Kneffel meditates on the historic Seagram Building in New York. Again, she renders uncanny the renowned interior, designed by Mies and Philip Johnson. What appears to be a factual reproduction of an actual location is, in fact, a smooth amalgamation of different temporalities and incidents. In some, random drops of water on the surface contain reflections and visual echoes of disparate details that ultimately develop lives of their own, recalling the use of bubbles and droplets as microcosms in seventeenth century nature morte painting. In others, words and phrases—some quote Mies himself, others would appear to be Kneffel’s own fleeting thoughts—graffitied with a finger in the condensation on the outside of a window become the means through which the eye is permitted partial access to the scene within. A very recent work is a kind of intimate self-portrait, whereby the green vividness of a garden is visible through a cross traced in condensation on a window. We can just picture the moment at which the artist in her studio, perhaps bored, or frustrated, turns toward the window—frosted over on a winter’s day from the heat within—and makes a spontaneous mark (of erasure or negation) that, paradoxically, opens the way to a fresh reality.

Karin Kneffel was born in Marl, Germany in 1959 and studied at the Staatliche Kunstakademie Düsseldorf between 1981 and 1987. She lives and works in Düsseldorf and is a professor of painting at the Munich Academy of Arts. Kneffel’s recent exhibitions include Kunsthalle Tübingen (2010), and Kunstmuseum Krefeld Museum Haus Esters (2009–10).



Today's News

September 19, 2012

The Quai Branly Museum in Paris exhibition focuses on the universal theme of hair

"Aphrodite and the Gods of Love" opens at the San Antonio Museum of Art

Edvard Munch's The Scream to go on view at the Museum of Modern Art on October 24

Sotheby's to present Modern and Contemporary Southeast Asian Paintings Autumn Sale

Exhibition of recent paintings by Karin Kneffel on view at Gagosian Gallery in New York

"Bruno Munari: My Futurist Past" opens at the Estorick Collection of Modern Italian Art

Musée Maillol presents first exhibition devoted exclusively to Canaletto's Venetian works

Mannheim's Reiss-Engelhorn-Museen exhibition shows the world's first photograph

Edelman Arts presents a fragrant bouquet of "Electric Blossoms," by Torkil Gudnason

Vivian Maier's Chicago work presented at larger-than-life scale at the Chicago History Museum

Love and Other Matters: Servet Kocyigit solo exhibition on view at RAMPA in Istanbul

Ashmolean mounts retrospective exhibition covering all aspects of Edward Lear's career

Many Wars: Photography by Suzanne Opton provides a new look at veterans through penetrating portraits

Kunsthal Rotterdam opens exhibition of never-before-exhibited drawings by Aristide Maillol

Saint Louis Art Museum announces sculpture commission by artist Andy Goldsworthy

Solo show of works by Ayuko Sugiura on view at London's WW Gallery

Two new videos by Alix Pearlstein on view at On Stellar Rays

Catherine Opie participates in Socrates Sculpture Park's newest installment of ongoing billboard series

"Beyond the Frame: Spatial Composition After Lucio Fontana" at Contemporary Wing

Philly pizza museum serves up slices, memorabilia

Most Popular Last Seven Days



1.- Fever mounts as stunning statues found at Alexander The Great-era tomb

2.- Hi-tech underground scans reveal vast complex of monuments at Britain's Stonehenge

3.- National Geographic Museum opens exhibition featuring shark-munching Spinosaurus

4.- First major New York City exhibition to explore Vienna Actionism opens at Hauser & Wirth

5.- Elizabeth I 'airbrushed' for 18th century make-over and a bug is found in Edward VI

6.- Award winning Swedish director Daniel Fridell to direct Kalliope Films' Vincent Van Gogh biopic

7.- Comprehensive retrospective exhibition of Joan Miró's work opens at the Albertina

8.- Synchrotron radiation technology in art conservation: Science to the rescue of art

9.- Mona Kuhn's first solo exhibition in the US opens at Edwynn Houk Gallery

10.- Sotheby's announces details of its sales series for Property from the Collection of Mrs. Paul Mellon



Museums, Exhibits, Artists, Milestones, Digital Art, Architecture, Photography,
Photographers, Special Photos, Special Reports, Featured Stories, Auctions, Art Fairs,
Anecdotes, Art Quiz, Education, Mythology, 3D Images, Last Week, .

 

Founder:
Ignacio Villarreal
Editor & Publisher: Jose Villarreal - Consultant: Ignacio Villarreal Jr.
Art Director: Juan José Sepúlveda Ramírez - Marketing: Carla Gutiérrez
Special Contributor: Liz Gangemi - Special Advisor: Carlos Amador
Contributing Editor: Carolina Farias

Royalville Communications, Inc
produces:

ignaciovillarreal.org theavemaria.org juncodelavega.org facundocabral-elfinal.org
Founder's Site. The most varied versions
of this beautiful prayer.
Hommage
to a Mexican poet.
Hommage
       

The First Art Newspaper on the Net. The Best Versions Of Ave Maria Song Junco de la Vega Site Ignacio Villarreal Site