Nietzsche's Horse

Nietzsche's Horse

Rodeo Painting (Wyatt Clark)

Rodeo Painting (Wyatt Clark)

Ink on Canvas 84 x 132 in 2015

Rodeo Painting (Spiral)

Rodeo Painting (Spiral)

Ink on Canvas 84 x 132 2015

Untitled (Bead Painting)

Untitled (Bead Painting)

Glass beads sewn on linen 12 x 9 in 2016

A Dream Deflated

A Dream Deflated

(After Langston Hughes) Bear Traps and Basketballs 14 x 120 x 26 in 2014

Untitled (Blue Finger Painting)

Untitled (Blue Finger Painting)

Painted Aluminum 30 x 24 in 2016

Untitled (For Rothko)

Untitled (For Rothko)

Painted Canvas 67 x 51 in 2016

Untitled (Silver Tar Painting)

Untitled (Silver Tar Painting)

Silvered Tar on Painted Canvas 24 x 24 in 2016

33 Bars

33 Bars

Installation Shot 2016

33 Bars

33 Bars

Installation Shot 2016

Untitled (Finger Prints)

Untitled (Finger Prints)

Installation Shot 2016

ISAAC ADEN

I LIKE AMERICA

May 5th - August 20th, 2016 

 

Opening Reception:

6 - 9 pm, May 5th, 2016

 

View Isaac Aden Artist Page

 

Ethan Cohen is pleased to announce Isaac Aden: I Like America, the first solo exhibition of Aden`s work with the gallery. The exhibition features an introduction into Aden’s complex art practice by highlighting his recent body of work I Like America. He draws its content from the American experience, applying folk and regionalist vernaculars to painting.  Aden reconsiders the formal possibilities of painting by applying the principles, Rosalind Krauss outlines in her seminal essay Sculpture in the Expanded Field, to painting.  Aden proposes what a painting in the expanded field could look like.

 

Key works included in the exhibition are: Rodeo Painting, Nietzsche’s Horse (No Regrets for Jasper Johns) and Bead Painting. In Rodeo Painting, Aden paints a large white square on the dirt of a rodeo in Nebraska. During the rodeo horses and bulls leave marks in the paint. Nietzsche’s Horse (No Regrets for Jasper Johns) is a life size naturalistic aluminum horse sculpture.  A twelve- foot piece of neon glass connects the horse and a canvas made by utilizing quilting techniques. Additionally, Aden covers an entire canvas with sewn seed beads, synthesizing Lakota shamanism and post-digital pointillism.

 

Reflecting the curatorial aspect of Aden’s practice and, concurrent with the exhibition I Like America, Aden organized First We Take Manhattan; a group exhibition based on the internationalist agenda of Leonard Cohen. By conflating the predetermined roles of “artist” and “curator” Aden questions the limits of both.

 

For all inquiries, please contact the gallery at 212-625-1250 or via email at ecfa@ecfa.com

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