jehrapatrick.com

jehrapatrick.com http://cargocollective.com jehrapatrick.com Sun, 20 Nov 2011 20:38:16 +0000 http://cargocollective.com en Double Exposures http://cargocollective.com/jehrapatrick/Double-Exposures http://cargocollective.com/jehrapatrick/following/jehrapatrick/Double-Exposures Sun, 20 Nov 2011 20:38:16 +0000 jehrapatrick.com 2330845 <img src="http://payload1.cargocollective.com/1/5/171742/2330845/10.jpg" border="0" width="670" height="467" width_o="1024" height_o="715" src_o="http://payload1.cargocollective.com/1/5/171742/2330845/10_o.jpg" align="left" caption="Survey of Watercolor – U.S.A., 1946 | Inkjet Print | 50” x 35” | 2011"/> <img src="http://payload1.cargocollective.com/1/5/171742/2330845/yellow.jpg" border="0" width="581" height="500" width_o="581" height_o="500" src_o="http://payload1.cargocollective.com/1/5/171742/2330845/yellow_o.jpg" align="left" caption="School Exhibition, 1946 (with yellow paint) | Inkjet Print | 42” x 36” | 2011"/> <img src="http://payload1.cargocollective.com/1/5/171742/2330845/Patrick_Jehra_09.jpg" border="0" width="670" height="358" width_o="800" height_o="428" src_o="http://payload1.cargocollective.com/1/5/171742/2330845/Patrick_Jehra_09_o.jpg" align="left" caption="School Exhibition, 1946 (with red paint) | Inkjet Print | 50” x 28” | 2011"/> PROJECT STATEMENT Scanning archival photos and photocopies picked up a granular patterning that mimicked a Ben Day dot grid, which I enlarged and enhanced. I wanted to apply the same mediation to paint, as a material, and scanned and imposed paintbrush strokes over these scans, layering imagery and mediums. The scanner behaves like a camera, taking in two separate frames of time into a collaged image. The inkjet prints merge historical documents and information with a physical application made in present day. The works themselves also discuss multiple moments in art history, from Baldessari’s forms to Polke’s use of Ben Day dots, to Richter’s Overpainted Photographs. Museal Photographs http://cargocollective.com/jehrapatrick/Museal-Photographs http://cargocollective.com/jehrapatrick/following/jehrapatrick/Museal-Photographs Sat, 19 Nov 2011 01:21:38 +0000 jehrapatrick.com 2330540 <img src="http://payload1.cargocollective.com/1/5/171742/2330540/06.jpg" border="0" width="670" height="454" width_o="1024" height_o="695" src_o="http://payload1.cargocollective.com/1/5/171742/2330540/06_o.jpg" align="left" caption="Joseph Cornell, 1953 | Inkjet Print | 42” x 28” | 2011"/> <img src="http://payload1.cargocollective.com/1/5/171742/2330540/07.jpg" border="0" width="670" height="438" width_o="1024" height_o="670" src_o="http://payload1.cargocollective.com/1/5/171742/2330540/07_o.jpg" align="left" caption="Lowenthall Collection (view 1), 1952 | Inkjet Print | 42” x 28” | 2011"/> <img src="http://payload1.cargocollective.com/1/5/171742/2330540/08.jpg" border="0" width="670" height="459" width_o="1024" height_o="702" src_o="http://payload1.cargocollective.com/1/5/171742/2330540/08_o.jpg" align="left" caption="Lowenthall Collection (view 2), 1952| Inkjet Print | 42” x 28” | 2011"/> PROJECT STATEMENT Through my process of editing and composing painting compositions, I became fascinated with my own photocopied source material of midcentury art exhibitions and the visual culture of the museum at that time – both the presentation of exhibitions and the formal qualities of the photocopy. This visual language reminded me of art history handouts from college courses, which the exception that most were very alternate and underrepresented histories in the larger spectrum of authored history. I began scanning, cropping and editing these photocopies seeking out compositions that used language of current conceptual art practices – minimal compositions with store bought fixtures, houseplants, re-purposed furniture and other neo-ready-mades. These ‘re-photographs’ also function as an extension of my interest in appropriation artists of the 1980s, in which I quote from the museum’s histories then repurpose these reductive images to exaggerate their blown-out, grainy mark-making. The crop separates the subject from it’s original context and yields a new arcane art object. Museal Paintings http://cargocollective.com/jehrapatrick/Museal-Paintings http://cargocollective.com/jehrapatrick/following/jehrapatrick/Museal-Paintings Sat, 19 Nov 2011 01:16:10 +0000 jehrapatrick.com 2330528 <img src="http://payload1.cargocollective.com/1/5/171742/2330528/01.jpg" border="0" width="670" height="417" width_o="1024" height_o="638" src_o="http://payload1.cargocollective.com/1/5/171742/2330528/01_o.jpg" align="left" caption="Heart of Darkness – Althoff, Gallery 4 | Oil on canvas | 96 x 60 inches | 2011"/> <img src="http://payload1.cargocollective.com/1/5/171742/2330528/02.jpg" border="0" width="670" height="422" width_o="1024" height_o="646" src_o="http://payload1.cargocollective.com/1/5/171742/2330528/02_o.jpg" align="left" caption="Heart of Darkness – Hirshhorn, Gallery 6 | Oil on canvas | 96 x 60 inches | 2011"/> <img src="http://payload1.cargocollective.com/1/5/171742/2330528/03.jpg" border="0" width="670" height="414" width_o="1024" height_o="633" src_o="http://payload1.cargocollective.com/1/5/171742/2330528/03_o.jpg" align="left" caption="Lorna Simpson – Medtronic | Oil on canvas | 96 x 60 inches | 2011"/> <img src="http://payload1.cargocollective.com/1/5/171742/2330528/yellow_door_high_web.jpg" border="0" width="506" height="422" width_o="506" height_o="422" src_o="http://payload1.cargocollective.com/1/5/171742/2330528/yellow_door_high_web_o.jpg" align="left" caption="Perlman Gallery | Oil on canvas | 42 x 36 inches | 2011"/> <img src="http://payload1.cargocollective.com/1/5/171742/2330528/green_gallery_web.jpg" border="0" width="464" height="422" width_o="464" height_o="422" src_o="http://payload1.cargocollective.com/1/5/171742/2330528/green_gallery_web_o.jpg" align="left" caption="Gallery 4 | Oil on canvas | 46 x 42 inches | 2011"/> <img src="http://payload1.cargocollective.com/1/5/171742/2330528/khedoori_RAC_web.jpg" border="0" width="339" height="422" width_o="339" height_o="422" src_o="http://payload1.cargocollective.com/1/5/171742/2330528/khedoori_RAC_web_o.jpg" align="left" caption="Gallery Entrance - Rochester Art Center | Oil on canvas | 24 x 30 inches | 2011"/> PROJECT STATEMENT Driven by my genuine interest in painting - as a discipline and it’s objects and its histories - I look to museums and galleries as shaping the medium and it’s relevance. The museum is in many ways the ending place for the medium – displaying the work though an exhibition, the works accession into collections, and physically: the work’s captivity in storage. It also is a both a neutral and a very loaded subject; it is a blank wall or neutral backdrop for the showcasing of work, but the politics of how it arrives there are very complex. Taking the museum as my subject matter, I seek to create an extension of this reference on to the objects of the museum: paintings. I work with exhibition preparators, seeking permission to photograph gallery spaces while they are in transition between exhibitions. I also work with archival and image resources departments within museums, to access and mine museums’ visual records of exhibition preparation and documentation. I find compositions within my source imagery that acknowledge my working history of painting and then create paintings that incorporate the language of past movements and artists and represent the forms of my source image.