EXHIBITION

Beth Campbell: Periodic Split

Country Club, Cincinnati, Ohio, Cincinnati, 12/10/2011 - 01/21/2012

3209 Madison Road

ABOUT

Country Club is pleased to announce the inaugural exhibition for its new Chicago program with Periodic Split, new and recent works by New York based artist and 2011 Guggenheim Fellow, Beth Campbell. Periodic Split is presented in collaboration with Andrew Rafacz Gallery, marking the beginning of an ongoing collaboration with Country Club.

Reverent to a familiar history of art and design in which the mobile is ever-present, Campbell’s constructions nevertheless feel contemporary, occupying space in a way that is both meditative and ominous. They relate to twentieth century modernist art and design in their prioritization of elemental shape and form and their relationship to space, but they also operate as part of Campbell’s drawing practice, which references willfulness and the human decision-making process in the often over-stimulating, easily distracting contemporary world we live in. Campbell’s signature mobiles become a physical articulation of a life engaged -- never linear, faced with possibility, but loaded with many potential results and consequences. As seemingly fragile objects, their incandescence is beguiling as the lightness of the structure gives way to a series of very serious metaphysical and ontological implications.

In her recent sculpture and installations, Campbell has been interested in the visual and philosophical possibilities of iteration, manifested literally in the mirroring and doubling of ordinary objects and environments, rendering them anything but banal. With Stereotable (2011) the quotidian notion of a dining table and chairs complete with vases, candles and evidence of the people seated at it (scarves and pens) is repeated and ultimately disrupted. The final piece is several tables (and its objects) in one that intersect with each other and appear to operate on different planes. The effect is to have this ordinary object and its setting existing in several dimensions at once. Like Campbell’s mobiles, the viewer is simultaneously calmed by a seemingly familiar scene and jarred by its reposition as something wholly other.

Table Parallax (2011), exhibited here for the first time, reflects similar strategies. A medium sized wooden kitchen table’s top (its primary and perfunctory identity) is covered by bended wire shapes and thus, immobilized. It no longer works as a table, practically or aesthetically, but becomes the base for another sculpture (very similar to the mobile constructions) that oddly mirrors the base itself. It’s as if two very different kinds of tabletops have been attached to each other, calling both ends into question with each other. Just as the wire sculpture seems like a practical extension of the table, the table base is no longer merely functional.


For More Information

APT ARTISTS ON VIEW

Beth Campbell

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