ALL SHADES, ALL HUES, ALL BLUES
15.02.2024 - 16.03.2024
Thursday, February 15, 5–8pm
RSVP: firstname.lastname@example.org or +1 212 628 4000
521 WEST 26 TH Street, 1st Floor
NEW YORK 10001
Hollis Taggart is pleased to present All Shades, All Hues, All Blues, the Hamburg, Germany-based artist’s first solo show in New York City. In her latest body of work, Justine Otto applies her innovative compositional approach and signature palette to a series of figures of musicians created through indeterminate forms and shapes emerging out of abstract backgrounds. Though more figurative than abstract, nothing is obvious about Otto’s figuration, with a total lack of clarity as to where a figure ends and an instrument begins, resulting in musicians and their instruments at times blending together into enigmatic compositions that confound the eye. Featuring eleven paintings and one sculpture created over the past two years, All Shades, All Hues, All Blues will be on view from February 15 through March 16, 2024, with an opening reception on Thursday, February 15, from 5-8PM. Hollis Taggart will also be presenting Otto’s work alongside gallery artist Thomas Agrinier at EXPO Chicago from April 11 through April 14, 2024.
Otto’s brushwork and obscure portraiture as applied across an entire body of work. While Otto’s individual works are mesmerizing, the effect of seeing her technique applied across various images of one archetype is intoxicating. Taken together, the paintings in All Shades, All Hues, All Blues are a portrait of an orchestra, with Otto visualizing the experience of listening to music, masterfully capturing the motion of sound through her dynamic use of color and form. Puncturing her dark palette with brief moments of bright color, it is as if the viewer can pick out the beats or accents from the music generated by the paintings in the exhibition.
Otto’s visual language not only blends abstraction and figuration but is also heavily influenced by surrealism. In Otto’s orchestra, there is a proliferation of fingers and limbs so tangled that the harp in The Harpist might have a high-heeled foot; the flutist in Blower might have a dozen arms; or the strings might stretch across the painting as if the canvas itself is being played by the group of figures in Musica Contemporanea. As art critic and curator Mark Gisbourne notes in the catalogue accompanying the exhibition: “the pictured synthesis of the visual and the aural – of sound and image, musicians and music makers – has a long tradition in painting culture, […] a synthesis of sublimated facture Justine Otto the painter has uniquely mastered and made her own.”
SPEAKING IN COLORS
09.12.2023 - 10.03.2024
Öffnungszeiten:Di-So und feiertags 11 -17 h
MORE THAN ONE
Opening: 19. Januar, 19 h
19.01.2023 - 09.03.2024
60311 Frankfurt am Main
born in Zabrze/Poland.
1996 - 2003 Graduate Studies Free Painting at the Staatliche Hochschule - Städelschule - Frankfurt a. M
2003 Meisterschülerin by Prof. Michael Krebber and Prof. Peter Angermann
AWARDS AND SCHOLARSHIPS:
2014 Phillips collection emerging artist prize, Washington D.C (USA)
2010 Lukas Stipendium in Skagaströnd (Island)
2011 Kunstpreis des Lüneburgischen Landschaftsverbandes
2011 Kulturförderpreis Bildende Kunst des Landkreises Lüneburg
2013 Rolf Seisser Preis des Lions Clubs Frankfurt
2005 Volker-Hinniger Preis der Stadtgalerie Bamberg 2000 AEG Kunstpreis Ökologie
COLLECTIONS: Phillips Collection, Washington D.C. USA, Hessisches Landesmuseum Darmstadt, Ines und Jürgen Graf Stiftung, Köln, Museum Abtei Liesborn, Museum Angerlehner, Österreich, Museum Franz Gertsch Schweiz (Willy Michel Stiftung), Schweiz; Niehaus Pharma, Ingelheim, Soer Rusche, Oelde/ Berlin; Kunsthalle Hense Bochum; Blobel, New York; Ammann Collection, Schweiz ; Philippe Leeman, Antwerpen; Connersmith, Washington D.C,; Lauer Collection Washington D.C.
© Sandra Mann Foto
Saša Bogojev in Justine Otto's 'New Traditionalists' at DCV Verlag
The inconspicuous thematic and stylistic shifts which have marked Justine Otto's artistic practice over the years have been regularly commended. They were prompted by the compelling impetus of freedom: the freedom to choose subjects that resonate with a point in time, as well as the freedom to utilize paint and modify her technical approach to fit the atmosphere of a given moment. From working
with female figures at the beginning, through a transition to masculine archetypes (heroes, leaders, or cowboys), to the most recent musician paintings, the Polish-born, Germanbased artist has harnessed the increasingly intense and motivating sensation of experiencing an artistic deliverance. And although they stemmed from different sources of inspiration and were energized by disparate intentions, each chapter of her ever-evolving practice pointed towards the next one, developing an oeuvre that, in a way, imitatesthe dynamics of life.
Larissa Kikol in Justine Otto's Melancholy beneath a hot wind at 'New Traditionalists' at DCV Verlag
...There is no unequivocal answer. The true temperature in Justine Otto’s worlds remains a secret. Whatever it is, the living conditions are in any case inhospitable, so that every movement is a miracle. Even in a fever dream it is difficult to distinguish between shivering, between coldand hot. Rising above that remains the sad romanticism of a man, condemned to loneliness, in the freedom of his solitude. Even the presence of loyal animals (the dogs and horses) does not relieve a certain forlornness. And when the man finally melts into his surroundings, dissolves into this environment, a feeling of leave-taking arises, a sense of melancholy. In this mood the series of portraits seems like a gallery of ancestors and the landscape scenes like nostalgic tales. And yet they are lit up in the here and now, like the glow of the cigarettes.
Jean-Christophe Ammann in Justine Otto's Female Territory at 'Halbpension' at Kerber Verlag
‘Fairy tales are true’, says the artist. What she does is to intensify fairy tale themes by engaging in a medialisation process that blurs their levels of reality. Through the harshness of her pictures, their implacability, Justine Otto creates a reality that is neither overdone nor pathetic, but that touches a nerve in a present time in which extremes are either embedded or exploding, in which the erotic quality of these extremes appear as extended, atrophied, travesties or fetishes of themselves.
Silke Hohmann in Justine Otto's 'Heroes and Hoaxes' at Hatje Cantz
Justine Otto's heroic paintings work away at the history of painting just as they do at humanity's myths of masculinity. They are broken figures: they stand their ground, but their uniforms, saddle horses, and other symbols of status are permeable or dysfunctional. Speed (2016) shows a rider on he prairie- or is it a German lake welling up under the blue and red sky? A watchful herding dog looks up at the hero, who could be a settler, a Don Quixote or a fugitive. Except that this horse has seemingly unstable wooden posts in the place of legs. 'Speed' of a certain kind may thus be out of the question, but instead we are offered a fast-paced ride though the imagery of art history and pop culture from Emil Nolde to Lassie – and the fragile legs of the horse would seem to serve as an easel. In this manner, all of Otto's subjects and themes are always investigations into painting itself. What is feasible? What is representable? And what are the appropriate techniques? In her new works Otto has emancipated herself from the painter who paints women with a seemingly light hand. In her recent paintings she practices a different form of painting in which she relates figuration and abstraction to one another and makes use of templates. The attention she pays to the heroes is tantamount to a form of liberation, an opening for all of painting's inherent opportunities, things always worthy of reexamination.
Mark Gisbourne in Justine Otto's 'Heroes and Hoaxes' at Hatje Cantz
The sense of the mental search for and a “gathering” of ideas is emblematic of Justine Otto’s creative synthesis as seen in the figurative-to-abstract aspects of her latest paintings. In seeking the material resolution of an imagined inner picture, there is a processing thesis, a new treatment of surface and material means, as well as the distilled potential and existing inner thoughts about what the immediate idea of a given painting might seek to achieve. Unlike the incised moment of a photographic image, a painting practice always emerges through the interconnected unfolding visual stages of studio-based and accumulative temporal processes.5 The painter’s situational response is that of an initial state of resistance that becomes assimilated and progressively mediated. As any handkunstwerk painter-practitioner knows, no painting is ever easily won, and the pictorial outcome has to be (con)tested and mastered in the continuous processing of its developmental making. This observation is significant when we consider the synthesized subject paintings of someone like Otto. The newly painted works increasingly engage with the pictorial sophistication of translated collage, an aide-mémoire, perhaps, operating in the deconstructed interstices between figuration and abstraction.
ZEIT_ KUNST UND AUKTIONEN
mit Texten von Larissa Kikol, Sasa Bogojev und Heinz-Norbert Jocks
with texts by Larissa Kikol , Sasa Bogojev and
Heinz - Norbert Jocks
HEROES & HOAXES
PUBLISHED BY HATJE CANTZ
Text(e) von Silke Hohmann, Mark Gisbourne
2018. 184 Seiten, 111 Abb.
24,50 x 29,00 cm
PUBLISHED BY KERBER VERLAG
Text(e) von Jean - Christophe Ammann ( Autor),
Anna Wesle ( museum Franz Gertsch, Burgdorf, Schweiz
2013. 80 Seiten,
24,1 x 1,3 x 27,9 cm
TODAY IS TOMORROW'S YESTERDAY
PUBLISHED BY Städtische Galerie Neunkirchen and
kunst galerie fürth
Text(e) von Prof. Peter Angermann, Hans -Peter Miksch/Leiter der kunst galerie fürth und Nicole Nix- Hauck (Leiterin der Städtischen Galerie Neunkirchen)
2014, 48 Seiten,
24,1 x 1,3 x 27,9 cm
PUBLISHED BY KERBER VERLAG
Publikation anläßlich der Verleihung des Kunstpreises 2010/2011 des Lüneburgischen Landschaftsverbandes
Text(e) von Jean - Christophe Ammann und Verena Titze
2011. 80 Seiten,
29 x 1,3 x 25,6 cm
ZÄHNE UND KRALLEN
PUBLISHED by Nordlanddruck
Text(e) von Dr. Susanne Pfleger, und Dr. Isa Bickmann
2009, 48 Seiten,
25,3 x 1,3 x 27,9 cm
ART DAS KUNSTMAGAZIN
Nr. 10/ OKTOBER 2005