Spencer Finch,  Sunset (south Texas 6/20/03) , 2003. (detail)

Spencer Finch, Sunset (south Texas 6/20/03), 2003. (detail)

LIGHT

This winter, in an effort to combat or stave off the seasonal darkness, the Pizzuti Collection will install artwork that takes light as its muse and its material. Galleries will be turned over to ideas about a Texas sunset, neon window advertisements, iconic bar signs, and garish flashing messages.

The seven works in the exhibition use light to consider space, to illuminate ideas, and to question perception. Light becomes the medium to translate experiences and make visible what we discern about our world.    

Artists: Spencer Finch, Claire Fontaine, Patrick Martinez, Josiah McElheny, Tim Noble and Sue Webster, and Alejandro Almanza Pereda.      


 Alexandre da Cunha,  Kentucky (Divider) , 2011. (detail)

Alexandre da Cunha, Kentucky (Divider), 2011. (detail)

PAIR II

In this second edition of Pair, we partner Tonico Lemos Auad and Alexandre da Cunha. Both artists were born in Brazil (Auad in 1968 and da Cunha in 1969), both studied in San Paolo and then London, where they both currently live and work. Auad and da Cunha share a sensitive and conceptual approach to objects and frequently engage with everyday materials which undergo beautiful and unexpected transformations. In the case of Alexandre da Cunha, mop heads, planters, drinking straws, and steel bars come together into sculptural works of art that recall the playfulness of Duchamp’s readymades. Tonico Lemos Auad too engages with the mundane, forming objects out of graphite, brick, linen, and lace. His project goes further, in dialogue with time and reckoning with ephemeral materials so that his objects respond to the unpredictability of forces like weather and light.


 Evan Gruzis,  Angel of Fresh , 2008. (detail)

Evan Gruzis, Angel of Fresh, 2008. (detail)

Evan gruzis

Evan Gruzis’ body of work in the collection is sexy, strange, compelling, and immaculately produced. The paintings, with their palm trees, records, flags, logos, and floral arrangements, distinctly combine 1980 colors and imagery with Hollywood noir melodrama. Gruzis’ is distinctly aware of his art historical forbearers with his text and numbers works recalling Ed Ruscha or On Kawara and his appropriation of the American flag paying homage to masters like Jasper Johns or David Hammons. At the same time, Gruzis’ work feels playful and smartly ridiculous – in line with the spirit of contemporaries like Sarah Cain, Katherine Bernhardt, and Tala Madani. Over twenty works on paper will be on view.