Andrew Cannon

November 4, 2017–January 27, 2018 320 West 13th Street Gallery
Two works installed on adjacent walls: Tobacco Banner, 2017 to the left and Carnation Sign, 2017 to the right.

Andrew Cannon, installation view, 2017-2018

Two works installed on adjacent walls: Italy in Goethe, 2017 to the left and Vegetable Flag, 2017 to the right.

Andrew Cannon, installation view, 2017-2018

Two works installed on adjacent walls: Red Shield Shelf, 2017 to the left and Beaver, Real Estate, John Astor, 2017 to the right.

Andrew Cannon, installation view, 2017-2018

Four works, each individually installed on a wall inside a gallery. From left to right: Italy in Goethe, Vegetable Flag, Tobacco Banner, and Carnation Sign.

Andrew Cannon, installation view, 2017-2018

A surface composed of mixed materials tinted in various hues of seafoam and earthy tones on a partially exposed aluminum armature that juts out at the bottom.

Andrew Cannon

Italy in Goethe, 2017

Epoxy resin, epoxy putty, plastic resin, urethane foam, polystyrene foam, pigment, wood, and aluminum

32 1/2 × 60 × 13 inches

A vaguely rectangular wall sculpture with irregular edges and colorful textured marks in red, blue and green along the surface. A mushroom can be seen at the lower left corner.

Andrew Cannon

Carnation Sign, 2017

Epoxy resin, epoxy putty, plastic resin, urethane foam, and pigment

18 × 14 × 4 inches

Press Release

White Columns is pleased to present the first New York solo exhibition by Andrew Cannon (b. 1988,
Redlands, CA.) Cannon’s exhibition comprises six recent wall-mounted works that operate in an elastic territory somewhere between architecture, painting and sculpture.

At White Columns Cannon’s hybrid works negotiate the classical genres of landscape (e.g. ‘Italy in Goethe’), portraiture (e.g. ‘Beaver, Real Estate, John Astor’), and still-life (e.g. ‘Red Shield Shelf’), together they amplify Cannon’s alchemical approach to making and his promiscuous engagement with materials: which has included gold leaf, holographic foil, epoxy, urethane foam, putty, plexiglas, and oil paint among other pigments.

Equally promiscuous in their referents and departure points Cannon’s works invoke an unruly art history, one that suggests simultaneously the improvised languages of Joan Mitchell or Cy Twombly, the folk imagination of Thornton Dial, and the visionary architectural propositions of Hermann Finsterlin, all filtered through a kind of fin-de-siècle ‘atmosphere’ – think Huysmans’ ‘Against Nature’: a seemingly anachronistic ‘tone’ that pervades all of Cannon’s work, establishing an unsettling ‘mood’ that seems highly apposite for our current uncertain times.

Andrew Cannon (b. 1988) lives and works in New York. He received an MFA from Columbia University in 2017, and a BA from UCLA in 2010. His work was the subject of a solo exhibition at the Santa Monica Museum of Art in 2014, and has been included in numerous group exhibitions in California and New York.

Listen to a Know Wave interview with Andrew Cannon here.

info@whitecolumns.org

Checklist

Related Press

Two works installed on adjacent walls: Tobacco Banner, 2017 to the left and Carnation Sign, 2017 to the right.
Two works installed on adjacent walls: Italy in Goethe, 2017 to the left and Vegetable Flag, 2017 to the right.
Two works installed on adjacent walls: Red Shield Shelf, 2017 to the left and Beaver, Real Estate, John Astor, 2017 to the right.
Four works, each individually installed on a wall inside a gallery. From left to right: Italy in Goethe, Vegetable Flag, Tobacco Banner, and Carnation Sign.
A surface composed of mixed materials tinted in various hues of seafoam and earthy tones on a partially exposed aluminum armature that juts out at the bottom.
A vaguely rectangular wall sculpture with irregular edges and colorful textured marks in red, blue and green along the surface. A mushroom can be seen at the lower left corner.

Andrew Cannon, installation view, 2017-2018 (Two works installed on adjacent walls: Tobacco Banner, 2017 to the left and Carnation Sign, 2017 to the right.)

Andrew Cannon, installation view, 2017-2018 (Two works installed on adjacent walls: Italy in Goethe, 2017 to the left and Vegetable Flag, 2017 to the right.)

Andrew Cannon, installation view, 2017-2018 (Two works installed on adjacent walls: Red Shield Shelf, 2017 to the left and Beaver, Real Estate, John Astor, 2017 to the right.)

Andrew Cannon, installation view, 2017-2018 (Four works, each individually installed on a wall inside a gallery. From left to right: Italy in Goethe, Vegetable Flag, Tobacco Banner, and Carnation Sign.)

Andrew Cannon Italy in Goethe, 2017 Epoxy resin, epoxy putty, plastic resin, urethane foam, polystyrene foam, pigment, wood, and aluminum 32 1/2 × 60 × 13 inches (A surface composed of mixed materials tinted in various hues of seafoam and earthy tones on a partially exposed aluminum armature that juts out at the bottom.)

Andrew Cannon Carnation Sign, 2017 Epoxy resin, epoxy putty, plastic resin, urethane foam, and pigment 18 × 14 × 4 inches (A vaguely rectangular wall sculpture with irregular edges and colorful textured marks in red, blue and green along the surface. A mushroom can be seen at the lower left corner.)