Luis De Jesus Los Angeles - Logo image

Luis De Jesus Los Angeles
2685 S La Cienega Blvd. Los Angeles, CA 90034 | T 310 838 6000

Miyoshi Barosh

Delirium

Mar 22 - Apr 26, 2008

artist list

Miyoshi Barosh

images

  • previous
  • 1
  • 2
  • 3
  • 4
  • 5
  • 6
  • 7
  • 8
  • 9
  • 10
  • 11
  • 12
  • 13
  • 14
  • 15
  • 16
  • next

press release


PRESS RELEASE

MIYOSHI BAROSH: Delirium
MARCH 22 – APRIL 26, 2008

LUIS DE JESUS is proud to present MIYOSHI BAROSH: Delirium, opening March 22 through April 26, 2008. You are cordially invited to join us for an artist’s reception on Saturday, March 22, from 6 to 9 pm.

Miyoshi Barosh’s work collides the domestic world of craft with the muscular images of Pop in handmade signs and sign systems: maps, banners, billboards, and roadside attractions. Barosh’s rejection of machine fabrication in favor of the adamantly handmade reveals a self–conscious preference for imperfection that, in its honest pre–technological innocence, connects with the deeper emotive implications of the work. Like the human condition, it is pulled by conflicting desires for independence and dependency, freedom and obligation. Delirium consists of two groups of wall hangings and objects that parody the function of the “art object”: the cartouches—ornamental framing devices that signify ownership, possession, and self–glorification, and the collaged knitted pieces—made from discarded vintage afghans and glittering metallic sweaters that embody the idea of the handmade as a –labor of love”. Delirium celebrates the exuberant collision of color, texture, and form as it negotiates the conflict of irrational emotions that surrounds the art object.

Historically, the cartouche served as a decorative graphic element on European maps and coats of arms during the sixteen century, a time when European sovereigns raced one another to exploit and claim ownership over other lands and peoples. The baroque ornamentation of the cartouches in this exhibition frame emptiness (or, in one case, a reflection), underlying a broader feeling of melancholy and disorientation. Installed on fabulously extravagant wallpaper in a tongue–in–cheek imitation of high–end antique shops, these mock cartouches—as mirrors—as paintings—as art objects are droll substitutes for symbols of wealth and privilege: cartoon cartouches. These cartoons send up the object, “the painting”, as a signifier of connoisseurship and good taste. The second group of objects, the collaged crocheted pieces, plays on the notion of a “labor of love.” The hand–knitted afghans are traditionally women’s craft that refer to both the ideal of self–less love and to the idea of unconditional love—real or not. The work of art created as a labor of love may sound cynical, yet, for Barosh, is made in good faith and contains a deep utopian wish for social change, no matter how naïve and nostalgic that dream is.

Miyoshi Barosh received her BFA from Rhode Island School of Design and MFA from California Institute of the Arts. She is a former managing editor of BOMB magazine, and founder, editor, and co–publisher with A.R.T.Press, of NOW TIME, a non–profit arts and culture journal in Los Angeles. Her work is included in the permanent collection of the Laguna Art Museum (gift of Joni Moisant Wyel) and private collections in Southern California. Most recently, in 2007, she was featured in the exhibitions “This is My Country” and “Joe Dark Shadow Theater: Contemporary Puppet Videos and Art” at Luis De Jesus Seminal Projects. She lives and works in Pasadena, California.

For further information, please call 310-838-6000 or email .