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Aaron Curry

October 26, 2008 - February 1, 2009

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Aaron Curry, a young sculptor working in Los Angeles, premiers new sculptures made for the Vault Gallery at the Hammer Museum.  Curry’s sculptures combine references to a range of other artists from Pablo Picasso to Isamu Noguchi to David Smith with aspects of Surrealism, tribal art and American popular culture. For the new works being made for the Hammer exhibition, Curry explores aspects of camouflage used during World War I, leading to a confusion of depth perception, and the loss of definition of complex biomorphic forms. This is Curry’s first solo museum exhibition.  

About the Exhibition

By Michael Ned Holte

 

Curry’s body of work circumscribes such sculpture, as well as gestural paintings on paper that oscillate between abstraction and anthropomorphism, deft collages that often locate occurrences of “primitivism” in everyday culture, and resin-coated shards of cardboard that defy categorization while casually leaning against the wall like scrappier versions of John McCracken’s planks. In Curry’s earliest exhibited efforts, a handful of familiar modernist tropes—biomorphic abstraction, surrealist trompe l’oeil, disjunctive collage—encountered a who’s who of pop culture, including a ghetto fabulous Christina Aguilera pretty in pink, Tim Allen as the Shaggy Dog, hip-hop empress Kimora Lee Simmons, Star Trek’s Klingon Worf, country-and-western rabble-rouser Toby Keith, and the computer-generated version of Garfield the Cat, all summoned via movie posters and other found images, many slathered with resin and serving as low bases for sculptures. Still, pop culture and the concerns of “high” art were never at odds in Curry’s works, but just the opposite: these camps were in cahoots from the beginning. Of course, modern art’s history is, and has always been, a refracted history of common culture, from Edouard Manet’s fondness for the flatness of advertising, to Pablo Picasso’s incorporation of newspapers into his collages, to Willem de Kooning’s lusty studies of Marilyn Monroe to, well, pop art. So if what’s referred to—in reverent tones—as The Popular has, at first glance, disappeared from Curry’s work in the past year or so, a closer look should suggest that a complex intertwining of cultural signifiers has in fact become more fully subsumed—or mashed up—into the very DNA of his figurative assemblies. In other words, it’s increasingly hard to tell where E.T. ends and Max Ernst begins. More

 

Organized by Gary Garrels, chief curator.

 

 

Hammer Projects is made possible with major gifts from Susan Bay-Nimoy and Leonard Nimoy and The Horace W. Goldsmith Foundation.
 
Additional generous support is provided by the Los Angeles County Arts Commission, Good Works Foundation and Laura Donnelley, the David Teiger Curatorial Travel Fund, and Fox Entertainment Group’s Arts Development Fee.  Gallery brochures are underwritten in part by the Pasadena Art Alliance.
 

 

 

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