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Untitled (a table that looks like a sculpture), 2016
Enamel on aluminum, eastern maple, and plywood
44 x 31 3/4 x 21 3/4 inches
Garth Greenan Gallery is pleased to announce Roy McMakin: A Table, the inaugural exhibition at its new location at 545 West 20th Street. Opening on Thursday, September 29, 2016, the exhibition is the first presentation of McMakin’s work in a New York gallery since 2008. Twelve new sculptures will be on view, each an exploration of the poetic potential of an ordinary table.
Like much of the artist’s work, objects in the exhibition cross a threshold between utility and contemplation, meaning and anonymity. McMakin writes, “I have always seen functionality as a tool I use to both understand and point out my fascination and relationship to objects, and to language. Call something a table, and you put your keys on it, and something happens. It’s profoundly transformative.”
Many of the recent sculptures are inspired by or incorporate found, vernacular furniture. The artist reworks these objects of American domesticity, making changes in scale and material to subvert how they are traditionally received. The sculptures, which are always meticulously produced, explore at what point an object can no longer be considered “useful.” As Michael Darling writes in his introduction to the catalogue accompanying McMakin’s 2003 exhibition at the Museum of Contemporary Art, Los Angeles, “If it’s built like a table and looks like a table but doesn’t exactly work like a table, can it still be a table?”
Born in Lander, Wyoming in 1956, Roy McMakin received his MFA from the University of California, San Diego in 1982. Faculty members Allan Kaprow and Manny Farber were important early influences. Indeed, McMakin exhibits many of what Farber famously described as “termite art tendencies,” in which the artist approaches a subject and gnaws at it over time and from the margins. To this day, McMakin’s termite approach continues to allow him to negotiate the slippery terrain between art and function by pulling art into the everyday, rather than pushing the everyday onto a pedestal.
Since 1980, McMakin has had over thirty solo-exhibitions. Notable galleries and institutions include: Quint Gallery (1986, 1987, 2001, 2003, 2007, 2013, San Diego), Marc Foxx (1997, 2000, Los Angeles), Henry Art Gallery (1997, Seattle), Seattle Art Museum (1999), Museum of Contemporary Art, Los Angeles (2003), and Matthew Marks Gallery (2005, 2008, New York). The artist lives and works in San Diego.
McMakin’s work is featured in the collections of major museums around the country, such as: the Hammer Museum of Art, University of California, Los Angeles; the Henry Art Gallery, Seattle; the Los Angeles County Museum of Art; the Museum of Contemporary Art, Los Angeles; the Museum of Contemporary Art, San Diego; the Museum of Modern Art; the San Francisco Museum of Modern Art; and the Weatherspoon Art Museum, University of North Carolina, Greensboro.
Garth Greenan Gallery is pleased to represent Roy McMakin.
Roy McMakin: A Table will be on view at Garth Greenan Gallery, 545 West 20th Street (between Tenth and Eleventh Avenues), through Saturday, November 12, 2016. The gallery is open Tuesday through Saturday, 10:00 A.M. to 6:00 P.M. For more information, please contact Garth Greenan at (212) 929-1351, or email garth@garthgreenan.com.
Untitled (a table that looks like a sculpture), 2016
Enamel on aluminum, eastern maple, and plywood
44 x 31 3/4 x 21 3/4 inches
Chest of Drawers with Table, 2016
Enamel on eastern maple and plywood, found table
60 x 67 x 30 3/4 inches
Shelving Unit with Drop-Leaf Table, 2016
Enamel on eastern maple and plywood, found table
57 1/4 x 41 1/2 x 33 inches
Four Green Tables (one to be used in my new home, one to be sold by a gallery and used as a table in the purchaser's home, one to be acquired by an Institution to be conserved in original condition, one to be donated anonymously to a thrift store), 2016
Enamel on eastern maple
27 1/2 x 30 x 18 inches
Untitled (two hanging tables, one new, one old), 2013
Enamel on eastern maple, found table
26 x 37 3/4 x 28 inches
Untitled (two slat-back chairs, one 1.5 percent smaller than the other), 2016
Enamel on eastern maple
36 x 19 x 21 15/16 inches, 35 15/32 x 18 23/32 x 21 39/64 inches
Untitled (with cabinet), 2016
Enamel on eastern maple and plywood, found table
33 1/2 x 54 x 36 1/2 inches
A Table with 90 Coats of Paint, 2016
Enamel on eastern maple and plywood, mirrored glass
53 x 72 x 34 inches
The dozen or so objects—call them sculpture, furniture, or something poised indeterminately in between—included in Roy McMakin’s recent exhibition at Garth Greenan Gallery for the most part proceeded from a superficially simple line of inquiry: What happens to a conventionally functional artifact when that artifact has its conventional function tampered with? It’s a question with which McMakin—a Wyoming-born artist and craftsman who studied at the University of California, San Diego, in the late 1970s and early ‘80s with teachers such as Allan Kaprow and Manny Farber and who today also works both as an architect and a commercial furniture designer—has spent years engaging.
Some of the objects are conjoined, like Siamese twins, or nested inside each other, like memories. Others are grouped together — four identical green tables, each twenty-seven inches high, or two white chairs, one proportionately smaller than the other. At one point, while looking at the green tables, I had the sudden urge to wipe the dust off one of them, except there wasn’t any dust.