| Two Proud Society Spouses Are Reclining on Contemporary Furniture As A Golden-Eyed Ghost Lady Looks Over The Coffee TablesSeptember 7, 2006- October 14, 2006Reception: September 7, 6:00 pm - 8:00 pm
Hudson Franklin is pleased to present a solo exhibition of new sculptures
and mixed-media works by Alice Könitz, on view from September 7 to October
14, 2006.
Könitz continues her exploration of crafting objects from low-budget
materials using mid-century Modernist shapes. In particular, this
exhibition features a unique, handcrafted magazine in which advertising
models seem to dwell in a storybook of Könitz's peculiar world of modular
shapes and architecture. The complex homemade table covered in gold
Chromolux paper that displays the magazine exemplifies the conflation of
domestic design and fantasy seen throughout her work.
Alice Könitz received an M.F.A. from California Institute of the Arts in
1999. Recent reviews of her work have appeared in Artforum, frieze and
Sculpture magazines. This is her second solo exhibition with Hudson
Franklin.
Reviews of Two Proud Society Spouses Are Reclining on Contemporary Furniture As A Golden-Eyed Ghost Lady Looks Over The Coffee TablesNew York Times
October 6, 2006 | | Holland Cotter | | "Even in a packed summer group show — “Bringing the War Home” at Elizabeth Dee — Alice Könitz made an impression with an angular, moderne-style sculpture covered with shiny gold adhesive material. Striking in itself, it also served as a display pedestal for Ms. Könitz’s “magazines,” digitally scanned and bound collages made of clips from fashion and shelter magazines and photographs of Ms. Könitz’s earlier work...." | Artforum.com
September 14, 2006 | | Brian Sholis | | "...the unwieldy title of
Los Angelesbased artist Alice Könitz's second New York solo show, not only
hints at a narrative that might animate these more-or-less abstract
sculptures and collages but also indicates that, in a pendular swing between
private and public concerns (her last solo, in LA, was titled "Public
Sculpture"), Könitz has returned to the intimate scale of the domestic.
..." |
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