Sebastiaan Bremer
08 May - 08 Jun 2013
© Sebastiaan Bremer
Reve jeune fille revant, 2013
Hand painting on chromogenic photograph print
19 x 21,7 cm
Reve jeune fille revant, 2013
Hand painting on chromogenic photograph print
19 x 21,7 cm
SEBASTIAAN BREMER
Who’s Afraid of Red, Yellow and Blue
8 May - 8 June 2013
Galeria Leme is pleased to announce an individual exhibition of recent works by Sebastiaan Bremer. The exhibition, whimsically titled “Who’s Afraid of Red, Yellow and Blue”, features small-scale photographic collages on which Bremer has interfered with different media.
The exhibition title references Barnett Newman’s painting of the same name, a high point of Modernist art, which in 1986 was slashed with a box-cutter and irreparably destroyed while it hung in Amsterdam’s Stedelijk Museum. Bremer’s new works, literally scratching into the surfaces of Modernist masters, engages with this legacy of destruction, yet the artist uses his cutting technique as a means of entering into and engaging with the original paintings and photographs. Rather than functioning as critique, the works inhabit the lines and brushstrokes of past artists in order to make something new, bridging the boundaries of style and time.
In this new body of work, Bremer uses his signature technique of painting on his own photographs of his own, but he also experiments with new approaches, both in the images in which he interferes and in the methods he employs. Collages in the broadest sense, the new works feature a broader variety of tools, media and artistic references.
Bremer has digitally layered and blended images of nudes and studio interiors by Bill Brandt and Brassaï, bits of paintings by Picasso and Matisse, and his own personal photographs. On these collages, Bremer has employed pen, paint, ink and knife, slicing through the emulsion while the drawn and painted marks squeeze themselves into the works.
A Brandt nude, for instance, merges with the faces of two women painted by Picasso; overlaid with ink and knife cuts, the composite woman exudes power, reminiscent of the goddess Isis and the Venus of Willendorf. Bremer’s mark-making collapses the borders between his various source images, suturing together multiple layers, styles, and modes of expression.
About the artist:
Sebastiaan Bremer (Amsterdam, 1970). Lives and works in New York, USA.
His recent solo exhibitions include: “Eyes”, Edwynn Houk Gallery, Zurich, Switzerland (2012); “Egmont Revisited”, Hales Gallery, London, UK (2012); “Nudes and Revolutions”, Edwynn Houk Gallery, New York (2011); and “Invasões Holandesas”, Galeria Leme, São Paulo, Brazil (2010). Bremer’s work is in the collections of the Museum of Modern Art (New York), the Victoria & Albert (London), and the Los Angeles County Museum of Art, among others, and has been exhibited in group shows including “Photography is Magic!”, Daegu Photo Biennale, Daegu, Korea (2012); “Contemporary Magic: A Tarot Deck Art Project”, Warhol Museum, Pittsburgh, USA (2011); “Re-Accession: For Sale by Owner”, FLAG Art Foundation, New York, USA (2009); “The Photograph as Canvas”, The Aldrich Museum of Contemporary Art, Ridgefield, CT, USA (2007); “Pin-Up: Contemporary Collage and Drawing”, Tate Modern, London, UK (2004); and “Curious Crystals of Unusual Purity”, MoMA PS1, New York, USA (2004).
Who’s Afraid of Red, Yellow and Blue
8 May - 8 June 2013
Galeria Leme is pleased to announce an individual exhibition of recent works by Sebastiaan Bremer. The exhibition, whimsically titled “Who’s Afraid of Red, Yellow and Blue”, features small-scale photographic collages on which Bremer has interfered with different media.
The exhibition title references Barnett Newman’s painting of the same name, a high point of Modernist art, which in 1986 was slashed with a box-cutter and irreparably destroyed while it hung in Amsterdam’s Stedelijk Museum. Bremer’s new works, literally scratching into the surfaces of Modernist masters, engages with this legacy of destruction, yet the artist uses his cutting technique as a means of entering into and engaging with the original paintings and photographs. Rather than functioning as critique, the works inhabit the lines and brushstrokes of past artists in order to make something new, bridging the boundaries of style and time.
In this new body of work, Bremer uses his signature technique of painting on his own photographs of his own, but he also experiments with new approaches, both in the images in which he interferes and in the methods he employs. Collages in the broadest sense, the new works feature a broader variety of tools, media and artistic references.
Bremer has digitally layered and blended images of nudes and studio interiors by Bill Brandt and Brassaï, bits of paintings by Picasso and Matisse, and his own personal photographs. On these collages, Bremer has employed pen, paint, ink and knife, slicing through the emulsion while the drawn and painted marks squeeze themselves into the works.
A Brandt nude, for instance, merges with the faces of two women painted by Picasso; overlaid with ink and knife cuts, the composite woman exudes power, reminiscent of the goddess Isis and the Venus of Willendorf. Bremer’s mark-making collapses the borders between his various source images, suturing together multiple layers, styles, and modes of expression.
About the artist:
Sebastiaan Bremer (Amsterdam, 1970). Lives and works in New York, USA.
His recent solo exhibitions include: “Eyes”, Edwynn Houk Gallery, Zurich, Switzerland (2012); “Egmont Revisited”, Hales Gallery, London, UK (2012); “Nudes and Revolutions”, Edwynn Houk Gallery, New York (2011); and “Invasões Holandesas”, Galeria Leme, São Paulo, Brazil (2010). Bremer’s work is in the collections of the Museum of Modern Art (New York), the Victoria & Albert (London), and the Los Angeles County Museum of Art, among others, and has been exhibited in group shows including “Photography is Magic!”, Daegu Photo Biennale, Daegu, Korea (2012); “Contemporary Magic: A Tarot Deck Art Project”, Warhol Museum, Pittsburgh, USA (2011); “Re-Accession: For Sale by Owner”, FLAG Art Foundation, New York, USA (2009); “The Photograph as Canvas”, The Aldrich Museum of Contemporary Art, Ridgefield, CT, USA (2007); “Pin-Up: Contemporary Collage and Drawing”, Tate Modern, London, UK (2004); and “Curious Crystals of Unusual Purity”, MoMA PS1, New York, USA (2004).