Paul Corio, Devil On The Double, 2022, Acrylic on canvas, 60 x 48 inches, 152 x 122 cm.
Mathew Tom, Best Friend Forever, 2020, Oil on linen, 48 x 60 inches, 122 x 152 cm.
Dan Attoe, Night Boat, 2022, Oil on canvas on panel 12 x 12 inches, 31 x 31 cm.
Ena Swansea, Snow in Central Park, 2018-22, Oil, graphite and acrylic on linen 84 x 168 inches, 213 x 427 cm.
Adam de Boer, Amelia Briggs, Amy Lincoln, Ant Hamlyn, Anthony Miler, Audrey Large, Botond Keresztesi, Brandon Lipchik, Brendan Lynch, Brittney Leeanne Williams, Bryant Girsch, Cara Nahaul, Caroline Larsen, Cecila Fiona Strandbygaard, Chelsea Seltzer, Dan Attoe, Daniel Andres Alcazar, Darryl Westly, Ed Ruscha, Ena Swansea, Eric Yahnker, Gabrielle Garland, Gao Hang, Grant Stoops, Henry Hudson, Hiroya Kurata, Ivan Seal, James Ulmer, Jean Nagai, Jeremy Shockley, J.J. Manford, Jochen Mühlenbrink, Jon Young, Karl Maughan, Kate Klingbeil, Kim Dorland, Krzysztof Grzybacz, Leo Park, Leslie Weissman, Lisa Vlaemminck, Magda Kirk, Martina Grlic, Mathew Tom, Mathew Zefeldt, Matt Belk, Matt Murphy, Matthew F. Fisher, Matthew Hansel, Micah Ofstedahl, Natalie Birinyi, Natalie Westbrook, Nevena Prijic, Paul Corio, Philip Hinge, Rick Leong, Rosson Crow, Shara Hughes, Sholto Blissett, Taylor McKimens, Theo A. Rosenblum, Tim Gardner, Tim Irani
Los Angeles, CA — The Hole is proud to present Manscaping, our yearly thematic group extravaganza now across two of our galleries, Bowery and Los Angeles. With over sixty artists from known to unknown, Manscaping looks at depictions of landscape today with a whiff of gender nonsense.
Landscape may not be the most snazzy genre; right now all the fireworks are still in figuration—and, as with our thematic group exhibition last year, Nature Morte, even still life is popping off. Landscape is the slow burn, where our contemporary world is reflected but with less flash. I have to be in the right headspace myself, and it is nice that these two exhibitions provide a (mostly) figuration-free environment in which we can adjust our eyes to the world around us.
Manscaping we interpret as landscape impacted by mankind, not male grooming habits of course; how the idea of raw and rugged untouched nature is an anachronism. Instead of nature “red in tooth and claw” we have symmetrical and still nature, smoothed out and shaved; fantastical or virtual, but not the sloppy Romantic style traced from Turner though Plein Air. These exhibitions feature depictions of what you might call the un-natural world around us.
What I have been seeing in emerging landscape is a magical realism, a topiary-like control, and a digital framework. Magical realism has landscapes coming alive with activity and spirit, as in the detailed swirling works of Cecilia Fiona or Kate Klingbeil. The tight control of nature comes across in the discrete and symmetrical shapings of Matthew Fisher or Amy Lincoln. And the digital tools impacting our way of giving image to nature range from literal with Mathew Zefeldt and Gao Hang to more subtle with Lisa Vlaemminck and Ena Swansea.
Manscaping I liked because when studying landscape, gender trouble always made me wanna barf; anything earth mother, rolling boob and butt hills, the enviro-gendering of our “assaulted” female earth. In this show we include female body as landscape but also male body as landscape and also no-body as landscape, as well as some humorous gender cliché- upending and some actual hairy man-scapes from Magda Kirk or Brandon Lipchik.
Our install design is immersive: I found plastic "live walls" poignant as I picture the consumers of these products to be well-intentioned interior designers of sad offices with no natural light. And seeing some green on your retina is undeniably uplifting—in fact scientifically! For most of us, having a profound transcendental experience with the natural world is not as easy as it was in the Romantic era. Instead of "Monk By the Sea" we have Mathew Zefeldt's character in Grand Theft Auto looking out onto the beautiful programmed hills of the video game. As the wild, natural world is destroyed perhaps the future of landscape as a genre is the digital sublime.
Our entire staff here contributed to the curation of this project, which makes it extra gratifying: Julien Pomerleau, Elena Platonova, May Andersen, Jessica Gallucci and Raymond Bulman.
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Brendan Lynch, Autumn Fantasy, 2014, Oil on canvas, 66 x 84 inches, 168 x 213 cm.
Ant Hamlyn, Sunflower Chandelier, 2022, Custom PVC and nylon suspended kinetic inflatable, internally embedded LED lighting system, steel cables, d shackles, smart timer, ducting, blower, 59 x 118 x 118 inches, 150 x 300 x 300 cm
Karl Maughan, Kimbolton, 2022, Oil on linen, 47 x 79 inches, 120 x 200 cm.
Matthew Hansel, A Kingdom Built On Love, Need Not Stack A Single Stone, 2022 Oil on canvas, 60 x 48 inches, 152 x 122 cm.
Ivan Seal, Hawzesnishtahiem, 2022 Oil on canvas, 75 x 67 inches, 190 x 170 cm.
Ena Swansea, Snow in Central Park, 2018-22, Oil, graphite and acrylic on linen 84 x 168 inches, 213 x 427 cm.
Natalie Westbrook, Manhole, 2022, Oil and acrylic on canvas 110 x 96 inches, 279 x 244 cm.
Mathew Tom, Best Friend Forever, 2020, Oil on linen, 48 x 60 inches, 122 x 152 cm.
Lisa Vlaemminck, 0-gravity, 2021, Oil on canvas, 53 x 62 inches, 135 x 158 cm.
Tim Irani, Dawn, 2022, Acrylic on panel, 36 x 36 inches, 91 x 91 cm.
Mathew Zefeldt, Re_Spawn 11 (Rollover), 2021, Acrylic on panel, 24 x 42 inches, 60 x 106 cm.
Bryant Girsch, In the Garden, 2022, Oil on canvas, 18 x 24 inches, 46 x 61 cm
Gao Hang, A Global Warming Denying Tree, 2022 Acrylic on canvas, 48 x 60 inches, 122 x 152 cm.
Matt Murphy, Deep In Thought, 2021, Gouache on panel, 60 x 40 inches, 152 x 102 cm.
Cara Nahaul, Lead Me To The Frozen Sand, 2022 Oil on linen, 39 x 45 inches, 110 x 115 cm.
Dan Attoe, Night Boat, 2022, Oil on canvas on panel 12 x 12 inches, 31 x 31 cm.
Jeremy Shockley, Prometheus Falls, 2022, Oil on linen, 36 x 48 inches, 91 x 122 cm.
Brittney Leeanne Williams, Arch in an Arch, 2022 Acrylic and gouache on canvas, 20 x 16 inches, 51 x 41 cm.
Brittney Leeanne Williams, Back Imitating an Isolated Mountain, 2022, Acrylic and gouache on canvas, 20 x 16 inches, 51 x 41 cm.
Krzysztof Grzybacz, Cable Car, 2022, Oil on canvas, 63 x 51 inches, 160 x 130 cm.
Theo A. Rosenblum, Crossroads, 2020, Wood, metal, resin, acrylic, 86.5 x 34 x 32 inches, 220 x 86 x 81 cm.
Matt Belk, One Eyed Willie, 2022, Airbrush and pencil on wood panel, 28 x 24 inches, 71 x 61 cm.
Taylor Mckimens, Vagabond, 2022 Acrylic on canvas, 72 x 62 inches, 183 x 158 cm.
Micah Ofstedahl, Finding a Center in the Clouds, 2022, Acrylic on canvas, 24 x 48 inches, 61 x 122 cm.
Eric Yahnker, Fraptism #3, 2022, Oil on canvas, 40 x 30 inches, 102 x 76 cm.
Ed Ruscha, Sponge Puddle, 2015, Lithograph in colors on woven paper, 28 x 28 inches, 71 x 71 cm.
Tim Gardner, Lakeshore, Lake Louise, 2021, Watercolor on paper, 15 x 20 inches, 38 x 51 cm.
Daniel Andres Alcazar, From The United States No. 3, 2019, Inkjet print from negative film 9 x 13.5 inches, 23 x 34 cm.
Daniel Andres Alcazar, From The United States No. 43, 2019, Inkjet print from negative film, 9 x 13.5 inches, 23 x 34 cm.
Chelsea Seltzer, Dreamscape 1, 2022, Acrylic on canvas, 71 x 87 inches, 180 x 221 cm.
Natalie Birinyi, 40°44’12”N 73°58’21”W 301 ft, 2022, Oil, acrylic, and flashe on canvas, 60 x 36 inches, 152 x 91 cm.
Paul Corio, Devil On The Double, 2022, Acrylic on canvas, 60 x 48 inches, 152 x 122 cm.
Rosson Crow, MANSCAPING!, 2022, Acrylic, spray paint, photo transfer, oil on canvas, 69 x 69 inches, 175 x 175 cm.
Rick Leong, The Pleasure Seekers, 2022, Oil on canvas, 48 x 24 inches,122 x 61 cm.
Henry Hudson, Somewhere Over Nova Scotia, 2022, Pigment, petroleum jelly, calcium salts, chalk with dry pigment in polyvinyl acetate on aluminum board, 83 x 59 inches, 210 x 150 cm.
JJ Manford, Moonlight Interior with Manford Landscape Painting, 2022, Oil stick, oil pastel, Flashe on burlap over canvas 60 x 72 inches, 152 x 183 cm.
Caroline Larsen, Palm Springs Landscape, 2022, Oil on canvas over panel, 40 x 40 inches, 102 x 102 cm.
Adam De Boer, Rosemead Reflection, 2022, Batik, crayon, oil paint on linen, 46 x 72 inches, 117 x 183 cm.
Jean Nagai, Teru Teru, 2022, Acrylic, pumice on canvas, 72 x 60 inches, 183 x 152 cm.
Audrey Large, To See The Light We Crawl, 2022, 3D printed PLA, 37 x 33 x 32 inches, 94 x 84 x 81 cm 1/3, Ed. of 3.
Audrey Large, A Bit of Fairy Dust, 2022, 3D Printed PLA, 27 x 25 x 18 inches, 67 x 64 x 46 cm 1/3, Ed. of 3
Jochen Mühlenbrink, WP Diptych, 2022, Oil on canvas, 55 x 79 inches, 140 x 200 cm.
Grant Stoops, Winslow Fryboat, 2022, Arcylic on panel, 36 x 48 inches, 91 x 122 cm.
Martina Grlic, Transcience , 2022, Oil on canvas, 47 x 39 inches, 119 x 99 cm.
Jon Young, Bent on a Line, 2022, Iridescent fabrics, wood, and batting 68 x 68 x 7 inches,173 x 173 x 18 cm.
Nevena Prijic, The Heat Energy, 2022, Acrylic and flashe on canvas, 41 x 36 inches, 104 x 91 cm.
Botond Keresztesi, Royal Oaks, 2022, Acrylic on canvas, 55 x 47 inches, 140 x 120 cm.
Anthony Miler, Not Titled, 2022, Acrylic on raw canvas a maple strip frame, 22 x 30 inches, 56 x 76 cm.
Amy Lincoln, Big Moon Study with Plants, 2022, Acrylic on paper, 8 x 10 inches, 20 x 25 cm.
Amy Lincoln, Big Moon Study (Lime & Violet), 2022, Acrylic on paper, 8 x 10 inches, 20 x 25 cm.
Amelia Briggs, Oven, 2022, Reclaimed materials, latex, oil, 25 x 16 x 2 inches, 63 x 40 x 5 cm.
Amelia Briggs, Ghost, 2022, Reclaimed materials, latex, oil, 36 x 27 x 4 inches, 91 x 69 x 10 cm.
Leo Park, Landscape With Figures 2, 2022, Pencil on paper, 20 x 26 inches, 65 x 50 cm.
Bryant Girsch, Jogging Simulator, 2021, Oil on canvas, 20 x 30 inches, 51 x 76 cm.
Jochen Mühlenbrink, WP (Void), 2022, Oil on canvas, 39 x 55 inches, 100 x 140 cm.
Darryl Westly, Tyler, 2022, Oil on linen, 72 x 60 inches, 183 x 152 cm.
Ivan Seal, Pandindulge Knobstrald, 2021, Oil on canvas, 71 x 67 inches, 180 x 160 cm.
Lisa Vlaemminck, Still Life on Acid, 2021, Oil on canvas, 49 x 53 inches, 125 x 135 cm.
Cecilia Fiona strandbygaard, Breathing Together, 2022, Watercolour on handmade, acid free cotton paper, Framed: 16 x 11 inches, 39 x 28 cm.
Cecilia Fiona Strandbygaard, Looking For Your Face Between Flowers, 2022, Watercolour on handmade, acid free cotton paper, Framed: 16 x 11 inches, 39 x 28 cm.