Gut%2014%20untitled%202199%2079x66_129_0
Untitled (GUT/2199)
2014 
woodblock print on canvas
79 x 66 inches  
Bv%2000%20emilia%20galotti_129_0
Emilia Galotti
2000 
oil on canvas 
76 x 48 inches 
Rj%2014%20charmin%20tubes%20and%20wilted%20flowers_129_0
Charmin Tubes and Wilted Flowers
2014 
oil and wax on linen 
77 x 60 inches 
Pv%2013%20untitled%204946_129_0
Untitled
2013
oil on canvas
100 x 75 inches

Team (gallery, inc.) is pleased to announce its participation in the 2014 edition of Frieze New York. This marks the gallery’s third appearance at the fair. Our presentation will include works by Cory Arcangel, Robert Janitz, Suzanne McClelland, Ryan McGinley, Tabor Robak, Gert & Uwe Tobias, Daniel Turner, Pieter Vermeersch, Banks Violette and Stanley Whitney.

Cory Arcangel contributes a large-scale work from his ongoing Photoshop Gradient series, in which the artist produces unique prints using Photoshop's standard gradient tool. Coming to us with a readymade patina of age due to their reliance on increasingly dated software, these works act as signals for the speed at which we cycle through and abandon cultural detritus in pursuit of the new. 

Four paintings by Robert Janitz explore the membrane of connective tissue that exists between abstraction and representation. Thick brushstrokes and uncomplicated form give way to an immersive openness that renders the subject of these paintings the paint itself and, more importantly, the mere fact of their painted-ness. Highly similar to one another in form and palette, the works contain nonetheless a seemingly infinite possibility for variance and unexpectedly powerful moments.

Suzanne McClelland provides a painting from her ongoing Ideal Proportions series, which pair words with appropriated lists of numerals in order to examine the way numbers serve as a link between physicality and language, as textual representations of the concrete world. Here, she sets her focus on human physical appearance. The painting takes as its digit-source the ideal female proportions posited by the 1977 song “Brick House” by the Commodores.

On display by Ryan McGinley are three extraordinary examples from his earliest work, The Kids are Alright. Each of these photographs is an intimate portrait of the late artist Dash Snow, a close friend of McGinley’s. The images exemplify the artist’s initial practice of candid documentary photography of his friends: the young, artistic denizens of the Lower East Side in the early aughts.

By Tabor Robak, we will show Free-To-Play Lite, a large scale, four-channel work that takes its content from “match-three” video games such as Bejeweled and Candy Crush Saga, in which the player tries to align three or more similar items on a grid in order to make them “break” and disappear. The artist used a purchased package of two hundred thousand commercial icons, which he trimmed down to seven thousand, for his source images. The process of production is deeply transformative -- the artist has sampled his visuals as well as written a great deal of code to produce this program.

By Gert & Uwe Tobias, we will hang two large woodcut paintings, scaled at 76 by 66 inches. The artworks set graphic patterns, floral and faunal forms and ambiguous, amalgamated figures against dark backgrounds, mingling rigid geometric and abstract modernism with popular symbols and narratives from figurative art history.

Simultaneous to his solo debut at Team, two sculptures by Daniel Turner dominate the booth. The objects, with their immaculate, office-kitchen finish and spartan design, do not resonate with the domestic experience, attracting instead insidious associations with the industrial and institutional — factories, schools, feed-lots. They appear utterly familiar while also remaining ambiguous, ultimately denying the utility they initially suggest.

We will show a historic work by Banks Violette from 2000, made in advance of the artist’s very first solo exhibition. The painting fuses iconographies as divergent as those of Slayer album covers, the gilded art history of Caspar David Friedrich and the factory-made phantasmagoria of the Disney studios.

Pieter Vermeersch, who had his New York gallery debut at Team this April, will contribute a large painting. The artist’s practice is to photorealistically reproduce images of surfaces or skies in order to create artworks that are at once representational and completely abstract.

Stanley Whitney created a painting using his signature compositional approach of loosely gridding square-like shapes marked off into irregular proportions by horizontal ribbons. There is an immeasurable gulf between his paintings’ simplicity and complexity, their consistency of form and total variation from one another, their absorptive beauty and difficulty.

Team will be located in Booth B3.

 

 

 

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Rm%20dash%20skimask_129_0
Dash (Ski Mask)
2001
c-print 
40 x 27 inches
 
Photo%202_129_0
Free-to-Play Lite
2014 
4-channel HD video, custom software

1 hour 
dimensions variable 
Ca_14_gradient_friezeny_84x50_129_0
Photoshop CS: 84 by 50 inches, 300 DPI, RGB, square pixels, default gradient "Blue, Yellow, Red", mousedown y=6450 x=14500, mouseup y=23300 x=6700; tool "Wand", select y=23300, x=6700, tolerance=30, continguous=off; default gradient "Blue, Yellow, Red", m
2014
c-print
84 x 50 inches; 213 x 127 cm
unique
Sm%2013%20ideal%20proportions%20squeeze%20a%20winning%20hand%20(4714)_129_0
Ideal Proportions: Squeeze - A Winning Hand

2013 
dry pigment, gesso, polymer and oil paint on portrait linen 
72 x 84 inches