The imaginary anatomy varies with the ideas (clear or confused) about bodily functions which are prevalent in a given culture.It all happens as if body-image has an autonomous existence of its own and by autonomous I mean here independent of objective.

structure.

Jacques Lacan , 1953

 

 

 

 

For the past decade, Bradley Rubenstein has been exploring and constructing a world of imaginary anatomy. His is an art that slyly interrogates the boundaries of artistic creativity and scientific or biological generation.While his practice falls within the tradition of modernist critique: investigating the nature of painting and its relationship to representation and figuration; art history (Joseph Beuys); and the nature of materials, the works?? ultimate meaning is deceptively complex. On first viewing the paintings appear to be abstract expressionist canvases which have lost their way in 21st century galleries when in fact they are anything but spontaneous (some of the paintings in this exhibition took three years to complete), expressionist or even pure paintings. It is the combination of such labor intensive extended periods of production, with the use of paints composed of ground semi-precious stones ( i.e. malachite, lapis lazuli or purplelite stone), and carbon-based or lead mediums, that removes his work from the category of painting in the traditional sense.Rubensteinís ĄportraitsĒ are not representations made in oil but organic beings of potential or past life is the basic element of the human body;As portraits, they are of a specific person or object, but also may be said to be, shifting the ground from representation to generative existentialism. In this sense the portraits are flat organic sculptures made from earthy materials, which masquerade as painterly high modernist canvases.Surface is both Rubensteinís subject and foil;for in order to understand the work, it is the surface one must decode

and move beyond.

 

Thyrza Nichols Goodeve

 

Bradley Rubenstein has been the recipient of a National Endowment for the Arts Fellowship in Painting and a Pollock Krasner Award; his works are included in

the collections of The Detroit Institute of Arts and The Museum of Fine Arts, Boston, among others. This is Mr. Rubensteinís fourth solo exhibition in New York City.

 

 

For further information contact Marion Ziola or Wolf

Dieter Stoffelmeier @ 212.727.7575

Gallery Hours: Tuesday - Saturday, 11 - 6