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Booth A14

Ocean Avenue & 12th Street, South Beach

December 1 – 6, 2015

Installation View of Luis De Jesus Los Angeles at UNTITLED Miami 2015 featuring Miyoshi Barosh and Dennis Koch.

Installation View of Luis De Jesus Los Angeles at UNTITLED Miami 2015 featuring Miyoshi Barosh and Dennis Koch.

Press Release

Luis De Jesus Los Angeles is very pleased to announce our participation in the third edition of UNTITLED Miami Beach 2015 with a group presentation featuring Miyoshi Barosh, Dennis Koch, and Josh Reames. 

In his paintings, JOSH REAMES mines his generation's proclivity toward social media while disrupting the traditional function of formal space, structure, and narrative in painting. Reames’ conceptual framework functions as a kind of filtration device for cultural byproduct—his object-filled canvases reference a vocabulary of transient emojis and digital signs, untethered in space, that jettison all notions of hierarchies. In these paintings, depth, dimension, and the artist's hand are typically lost in translation from object to image.

Primarily working in the medium of drawing, DENNIS KOCH makes meticulously structured abstract works inspired by the scientific fields of physics, cosmology, dimensional mathematics, and parapsychology. Koch’s methodology includes using a form of light meditation or remote viewing to generate visual “impressions” and diagrams that explore physical material being as a “resultant wave” of cascading harmonic interference patterns. Radiating plasmatic geomagnetic field-lines and a geometry of vortices, circles, and triangles become an allegory for the kaleidoscopic combination of the twelve Jungian archetypes within people or even the cosmological myth that our solar system was once inhabited by twelve planets.

MIYOSHI BAROSH uses the vernacular traditions of craft and folk art to make her wall tapestries, paintings, and sculptural objects. Her use of myriad materials such as fabric, Plexiglas, foam, fiberglass, paint, and found objects, as well as craft processes are a refutation of ideas of progress. Acrylic yarns and thrift-store purchased polyester knitwear are used with both comic irony and heartfelt sincerity as an Americanized arte povera.  These “indigenous” fabrics and folk-craft techniques are then processed through accumulation and assemblage in opposition to male-dominated Modernism as well as a parody of aspirational consumerism.  Through material, process, and text, Barosh makes the art object a manifestation of competing emotions around cultural conceits and identity politics.

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