“COMPOSED AND PERFORMED”
February 16th – March 15th
Co-Organized by Ever Gold Gallery and Jamie Alexander of Park Life, San Francisco.
Ever Gold Gallery is pleased to announce a solo exhibition of new work from Sadie Barnette. “Composed and Performed” brings together sculpture, installation, and photography to support the at-once boldly minimal yet complex language of Barnette’s work, within which she constructs a visual language system out of sub-culture codes and west coast vernacular, economic formalism, text and abstractions. Her work is concerned with extra-legal economies, luxury as drug, counterfeit capitalism, glitter as hypnotic, outer space as head space, the everyday as gold, family and lived identity experience, and the party.
Also available will be a new limited edition artist book, the latest in Barnette’s interest in zines’ and handmade books’ ability to provide an intimate yet accessible art object that anyone can own. There will be a limited print-run of Barnette’s new artist book released through Park Life at Printed Matters’ LA Book Fair this January, with the official release and signing happening at Ever Gold during the opening reception. Barnette is also currently in an exhibition at the Harlem Studio Museum, Nov 11th– March 10th.
“Sadie Barnette’s deadpan objects/installations… are striking in their quiet incongruity…the works also evince an unadorned lyricism, free of any heavy-handed conceit.”
–Ara H. Merjian, Art Forum 2012.
For further information or reproductions please contact Andrew McClintock at firstname.lastname@example.org or +01 415 7863676
Sadie Barnette is from Oakland, California. She received her BFA from CalArts in 2006, and in 2012 completed her Masters in Visual Arts at the University of California, San Diego. Awards and grants include: The Getty Center Multi-cultural Internship, The City of Oakland Catalyst Grant, UCSD Graduate Diversity Fellowship, Vermont Studio Center Fellowship. Barnette was the artist in residence at UCSD’s Thurgood Marshall College 2011-2012. She has exhibited in venues including Parklife in San Francisco, Southwestern College and Double Break gallery in San Diego, the Palos Verdes Art Center, and at The Studio Museum in Harlem. She resides in Los Angeles.
Exhibition Co-Organized by Jamie Alexander of Park Life, SF
Review for Sadie Barnette’s current show “Fore” at The Studio Museum in Harlem that runs November 11th – March 10th
Featuring work by twenty-nine different artists—many of them represented through multiple contributions—“Fore” continues in the vein of the Studio Museum’s previous group shows (the alliterative “Freestyle,” 2001, “Frequency,” 2005–2006, and “Flow,” 2008). The exhibitions have helped introduce emerging talent in a number of different media, from painting to site specific installation. To be sure, many of the artists in “Fore” have already staked out notable places in the contemporary scene. Noah Davis contributes with Found Photo, 2012, a characteristically arresting portrait of a foregrounded young man in three-quarter profile, set against a window frame and an abstract section recalling a vagrantClyfford Still painting. Equally striking is Jennifer Packer’s group of canvases, painted in a loose, unceremonious hand—a hand fittingly wed to their imagery of lounging and loafing. Letting the oil paint occasionally pool and coagulate on the surface of the works, Packer underscores their unhurried informality. Firelei Báez’s gouache drawings on paper are, by contrast, meticulously rendered. Made up of floral, decorative patterns and set onto the empty spaces of found, yellowing book pages, Báez’s lone bodies draw upon popular imagery, Caribbean history, and the work of Francisco de Goya. Hung at a slight distance from the wall, the paintings demonstrate a playful vitality and elliptical, literary imagery that bring the pages alive, as if drawing out a faded narrative strand sunk into the weft of yellowed paper.
Painting is by no means the only mode here. Sadie Barnette’s deadpan objects/installations—likeUntitled (Boombox), 2012, with its eponymous appliance painted white, its cassette port improbably stuffed with dirt—are striking in their quiet incongruity. The semiotics of color (or its lack) perhaps conjures up a parallel discourse here, particularly given the upshot of a made-over “ghetto blaster.” Yet the works also evince an unadorned lyricism, free of any heavy-handed conceit. Video finds poignant treatment and humorous nuance in Steffani Jemison’s Maniac Chase, 2008–2009, and Nicole Miller’s two-channel Daggering, 2012, which juxtaposes footage of the artist dancing ballet with footage of Caribbean dance-hall “daggering” (a bawdy and raucous dance craze). Propriety and defiant indecorum tangle here in an extended pas de deux that conjures up the tensions of female young adulthood. Other highlights include the splintered signage of Brenna Youngblood’s Untitled, 2012, and Toyin Odutola’s pen-and-ink portraits, with their looming visages and literary allusions.