You may recognize Taliah Lempert from the biking community or for selling one of her t-shrts at local flea markets and craft fairs. She is the artist who makes amazing paintings of bicycles.
This Weekend is the opening of her show at the Elkzine Gallery.
The Right Bike for the Right Situation
opening this SUNDAY, June 13th.
Opening Reception is: 5-8pm
The show runs from June 13 to July 11, 2010
At the Elkzine Gallery,
327 Bond Street (at President)
Brooklyn, NY 11231
Gallery Hours: Thursday-Sunday 1-7pm
A press release:
Taliah Lempert paints bikes and transforms something so prevalent as to be almost totally unremarkable
– there are an estimated 1.1 billion in the world – into sumptuous and forthright yet veiled portraits of these ubiquitous two-wheeled mechanisms.
Of the object itself, the bike, and by extension, its owner.
The bicycle is everywhere, the readymade that inspired the readymade. It is a tool, a work of art, a gratifying and enjoyable rolling machine depicted
in two-dimensions, lushly, lovingly rendered and suffused with vibrant reds, oranges, greens, pinks, and blues. A beast of burden, an omnipresent contraption
ridden in every country in the world by all walks of life, the bike equalizes.
These paintings lure the viewer into looking at bicycles in a way they never have before, while simultaneously bringing home the crucial importance
and widespread influence of these widespread things in our lives. A machine, standardized, but with an infinite variety of delineations:
big, small, tall, fast, slow, double, kid’s, fixed, gears, cruiser, and so on and so on. Brakes, tiers, spokes, headsets, seats.
Lempert’s thoughts on her favored subject are both straightforward and worth quoting:
“Bicycles are important, beautiful, and worth a close look. Most bikes I paint are, or have been, used daily
for transportation, recreation, messenger work and/or for racing. I paint bikes that are part of someone’s life,
or have been, or are intended to be. The bike they ride around, race, present themselves with. How they chose it,
how they use it and how they care for it. How each bike looks, develops because of a person, says a lot.”
“The world opens up. Moving through the neighborhoods, the sites and people on the way. Fast, often faster, than any other way
around town and always more fun. Watching the city lights while rolling over the bridge. The right bike for the right situation.
Worn when ridden, locked, or crashed. Grimy, sometimes cleaned, sometimes not. Finding the frame in a basement, fixing it, some brazing,
a new tube, stripped and painted. Do it up with style and parts gathered.”
In Lempert’s paintings the vessel of motion is paradoxically shown at rest, the dormant features of a kinetic machine
painted from observation caught at standstill. Blending saturated Bay Area-hued lyrical abstraction in her backgrounds
with acute attention to detail in the foreground representation, Lempert channels Manet, Hopper, Hockney, and Warhol
on the way to charting her own singular course. That is, intimations of Diebenkorn’s “Ocean Park” series in the abstract
setting and George Stubbs sans steeds and Thiebuad without pies in the front with a dollop of pop while completely transcending
those lodestars to achieve anatomically correct, poetical, and ravishing portraits of pedal-powered workhorses.
Directions: F train to Carroll Street, walk east (towards the Gowanus) on Carroll Street, left on Hoyt, then right on President.
Or ride a bike. Go to the end of the street. 327 Bond is directly to the right.
Presented with the cooperation and support of the Tinneny family and Macro-Sea.