21 Januar – 2 März 2012

Wendy White, Turun, 2011<br>Acrylic on canvas, wood, 21463 x 274,32 cm, 84.5 x 108 inches<br>Courtesy VAN HORN, DüsseldorfWendy White, Radio Lampor, installation view VAN HORN, Photo(c)VAN HORN, Düsseldorf 2012Wendy White, Radio Lampor, 2011<br>Acrylic on canvas, wood, 76 x 122.5 inches / 193,04 x 311,15 cm<br>Courtesy VAN HORN, Düsseldorf
Wendy White, Titta pa Den, 2011<br>Acrylic on canvas, wood, 177,8 x 254 cm / 70 x 100 inches, installation view, Radio Lampor", VAN HORN, DüsseldorfPhoto(c)VAN HORN 2012Wendy White, Titta pa Den, 2011<br>Acrylic on canvas, wood, 70 x 100 inches / 177,8 x 254 cm<br>Courtesy VAN HORN, DüsseldorfWendy White, Radio Lampor, 2011<br>Acrylic on canvas, wood, dimensions variable, Installation view with Radio Lampor & Snab, VAN HORN, Düsseldorf 2012Photo(c)VAN HORN, D.Steinfeld, VG-Bild-Kunst 2012
Wendy White, Fin, 2011<br>Acrylic on canvas, wood, 40,64 x 48.26 cm / 16 x 19 inches<br>Courtesy VAN HORN, DüsseldorfWendy White, HCM, 2011<br>Acrylic on canvas, wood, 67.31 x 52,07 cm / 26.5 x 20.5", installation view, Radio Lampor", VAN HORN, Düsseldorf, Photo(c)VAN HORN 2012Wendy White, 51 Catherine, 2011<br>Acrylic on canvas, wood, 106,05 x 121,92 cm / 41.75" x 48"<br>Courtesy VAN HORN, Düsseldorf

We are delighted to present the first solo-show by New York-based artist Wendy White in Germany .

“Wendy White has described the look of her works as ‘retro yet futuristic, inherently urban, reactive and rebellious, but also humble and DIY’. There are echoes of experiences familiar from everyday life – roadside billboards caught out of the corner of your eye as you speed by on the highway, cinematic dissolves, debris from a building renovation……. For White, the artistic process begins with the construction of the canvas support; it can be a single rectangle, or several of them abutted to form an irregular, non-rectangular array. The painting can be hung on the wall, or it can lean against the wall from the floor. One canvas may be ‘framed’ by another or a canvas may be “crowned” by a wooden construction. As for the pictorial marks themselves, they are primarily made using an airbrush. There is an inevitable association with spraypaint graffiti, but with greatly expanded possibilities….”. excerpts from a text by Barry Schwabsky

“RADIO LAMPOR refers to a section of the Advertising Mast in the Stockholm Exhibition of 1930. Designed by architect Erik Gunnar Asplund, the mast held text-based signage on a massive metal frame, the first of its kind and a beacon of the Functionalist style. My paintings incorporate the idea of free-standing signage—words floating against sky, or in my case, atmospheric passages. My intention in using text is not to require the viewer to “read;” for me, the abstraction of words and phrases is a way to describe the cobbled-together, intuitively driven registering of signs and symbols that occurs in daily life, the kind that goes beyond momentary recognition and enters the realm of subconscious synthesis. It’s similar to seeing only part of a billboard from a speeding car—you can usually tell if it’s an ad for a bank, or a car dealership, often from just a glimpse—it’s a very right-now, in-the-cultural-moment, almost involuntary understanding of something based on very little, but very crucial, information.” WW 2012

Wendy White *1971, exhibitions a.o. at Cress Gallery University of TN Chattanooga, Oakland University Art Museum, Indianapolis Museum of Contemporary Art, CCA Andtratx, Atlanta Contemporary Art Center, Leo Koenig, New York, Harris Lieberman, New York, current Publication: Vitamin P2, Phaidon