submitted on Wed, 09/05/2007 - 01:57 in 
BIOGRAPHY WRITTEN BY RICHARD VINE / Shows Press releases and essays
Emmanuelle Gauthier Born in 1971, Emmanuelle Gauthier is a French fine arts photographer who has lived and worked in New York since 1994. She studied photography at the Ecole des
Beaux-Arts in Paris, as well as film structure and production techniques at the Université de Paris VIII.
Her training also includes history of photography
classes with George Pitts, the photo editor of Vibe
magazine. Thereafter, working on independent productions, she assisted director Eric Ceret on his documentary Diaries and director Mark Humphrey on numerous music videos.
As a freelance photographer,Emmanuelle Gauthier has contributed to numerous publications such as
Citizen k, Spoon, Trace, Zing, The Fadder, Trax,Madame Figaro, Dazed & Confused, and Pure.
Among her commissions are ad campaigns for Audemars Piguet,Fred Sathal, and Totem.
Emmanuelle Gauthier's images--of airports, clubs, city streets, and glamorous youths--often imbue their
subjects with a dreamy allure. Her figures smoke and drink in louche surroundings; some pose with clothes laid on top of their bodies rather than worn normally. All seem too hip for love or grief. Yet their bohemian chic is inseparable from a pervading sense of desolation--as if the emptiness of the jetways had entered every aspect of life for these young urban nomads.
Most recently, Emmanuelle Gauthier completed a
compilation video of interviews with several New York-based artists with whom she has an aesthetic affinity: Andres Serrano, Dennis Oppenheim, Scott Hug,and others. Here scenes from the urban environment, including the living and working spaces
of the artists, are punctuated by shots of a sleek building lobby and highly reflective revolving door*emblems, in effect, of the hardness, gloss, and transitoriness of life in New York*s often impersonal milieu.
Emmanuelle Gauthier has previously exhibited in New York City at Marcus Ritter Gallery, Nikolai Fine Art Gallery, Egizio's project, Cynthia Broan galleries. And in Hong Kong at the Institute of Matter gallery.
Richard Vine
Editor at large at Art in America
Remy Toledo Gallery/Projects
is pleased to present an exhibition of three young artists
"Candy for Dinner"
Emmanuelle Gauthier, Vadis Turner, and Hu Ren Yi.
This dinner party has been cooked in America , China and France .
French photographer Emmanuelle Gauthier presents a different kind of candy, one of sweet seduction. In her latest series Plastic Baroque, techniques of digital manipulation create a refined and glamorous body of work. Layering lush imagery from European and American painting, Gauthier creates contemporary photographs of intricate beauty. Her composition is simultaneously dense and fluid with rich coloration and painterly quality as she explores favorite subjects in different hues. Creating a dreamy allure the images are charged with a Baroque sensibility, seducing the viewer with fairytale settings and subtle luminosity.
Vadis Turner exhibits cupcakes and a tea party constructed from kitchen materials and sewing goods. Influenced by generations of southern women who reigned in the kitchen and sparkled at society events. The immanent artist was expected to learn the ways of
a proper lady, folding her napkin properly and writing gracious thank you notes. Such traditions have been replaced by fast food and superficial entertainment, which becoming our legacy. Many now eat candy for dinner.
This exhibition will be the first viewing in New York of paintings by the young Chinese artist Hu Ren Yi. His candy color like paintings are cynical and playful with undertones of sexuality, family and politics. They are constructed simply, although the concept is much deeper than what physically appears on the surface of the canvas. The viewer is engaged by the dream like quality of the images. There is an obvious influence of the tradition of Chinese painting that merges with the contemporary.
Aesthetics of Belonging
Curated by Kasia Kay- Scope Artfair- NYC 2007-
Layered and complex ideas of gender, identity, belonging, sexuality and intimate narratives are explored in selected artworks. Presented here short-films examine issues of relationships, the construction of female and her belonging to society, and in relationship.Few works with focus on aesthetics of belonging to space, allude to notions of absence and presence, a sense of place and of no place, volume and void, notions of home, as well as personal freedom and belonging to a pre-constructed world. Artists included: Kristin Anderson, Sandra Bermudez, Emmanuelle Gauthier, David A. Parker, Nick & Shelia Pye, Alicja Karska and Aleksandra Went, and Chris Wasko.
Contemporary Baroque: Extreme Excess/Özel Sergi Participating artists:
Marina Zurkow
Molly Dilworth
Yael Kanarek
Emmanuelle Gauthier
Rsula Endlincher
Curator/ Küratör: Michele Thursz
The participants in this exhibition were chosen as a curator's choice. In the first round of selection, I realized that I was interested in works that represented an ornamental or ornate quality.
The natural tendency would be to connect the obvious definition of ornament and ornate to a traditional Byzantine or, in Western terms, a baroque, and the relationship to art and craft that came from Turkey.
I have decided to go astray, and to instead address a broader public and look at what might be classified as Contemporary Baroque, a category with little to do with the historical definition.
Here we look at the term baroque in relationship to the ornate use of new technologies in the artist studio and in society. Artists today have pushed past the uses of one said medium and practice to create a personal position in what seemed to be a plastic culture.
These works are visually pleasurable, with carefully designed aesthetics to convey complex structures of process, to create an object that can be read in many ways. On first sight the objects can be read as icons, with reference histories that are familiar and not apparently technologically driven, though each work is imbued with the possibilities set forth from technology.
Each artist’s precise use of information and their artisanal skill in producing art objects laden with this information; result in what might be thought of as tangible hyper-objects. They are hyper in relation to information and also in their ability to transfer by means of virtual and physical states, histories, stories, and technical information.
These seemingly decorative works can be read in many ways. They can be thought of linearly as narrative works or a viewer can fall into the proverbial rabbit hole that includes them into the overall narrative of this exhibition: Contemporary Baroque - extreme excess.
Beaux-Arts in Paris, as well as film structure and production techniques at the Université de Paris VIII.
Her training also includes history of photography
classes with George Pitts, the photo editor of Vibe
magazine. Thereafter, working on independent productions, she assisted director Eric Ceret on his documentary Diaries and director Mark Humphrey on numerous music videos.
As a freelance photographer,Emmanuelle Gauthier has contributed to numerous publications such as
Citizen k, Spoon, Trace, Zing, The Fadder, Trax,Madame Figaro, Dazed & Confused, and Pure.
Among her commissions are ad campaigns for Audemars Piguet,Fred Sathal, and Totem.
Emmanuelle Gauthier's images--of airports, clubs, city streets, and glamorous youths--often imbue their
subjects with a dreamy allure. Her figures smoke and drink in louche surroundings; some pose with clothes laid on top of their bodies rather than worn normally. All seem too hip for love or grief. Yet their bohemian chic is inseparable from a pervading sense of desolation--as if the emptiness of the jetways had entered every aspect of life for these young urban nomads.
Most recently, Emmanuelle Gauthier completed a
compilation video of interviews with several New York-based artists with whom she has an aesthetic affinity: Andres Serrano, Dennis Oppenheim, Scott Hug,and others. Here scenes from the urban environment, including the living and working spaces
of the artists, are punctuated by shots of a sleek building lobby and highly reflective revolving door*emblems, in effect, of the hardness, gloss, and transitoriness of life in New York*s often impersonal milieu.
Emmanuelle Gauthier has previously exhibited in New York City at Marcus Ritter Gallery, Nikolai Fine Art Gallery, Egizio's project, Cynthia Broan galleries. And in Hong Kong at the Institute of Matter gallery.
Richard Vine
Editor at large at Art in America
Remy Toledo Gallery/Projects
is pleased to present an exhibition of three young artists
"Candy for Dinner"
Emmanuelle Gauthier, Vadis Turner, and Hu Ren Yi.
This dinner party has been cooked in America , China and France .
French photographer Emmanuelle Gauthier presents a different kind of candy, one of sweet seduction. In her latest series Plastic Baroque, techniques of digital manipulation create a refined and glamorous body of work. Layering lush imagery from European and American painting, Gauthier creates contemporary photographs of intricate beauty. Her composition is simultaneously dense and fluid with rich coloration and painterly quality as she explores favorite subjects in different hues. Creating a dreamy allure the images are charged with a Baroque sensibility, seducing the viewer with fairytale settings and subtle luminosity.
Vadis Turner exhibits cupcakes and a tea party constructed from kitchen materials and sewing goods. Influenced by generations of southern women who reigned in the kitchen and sparkled at society events. The immanent artist was expected to learn the ways of
a proper lady, folding her napkin properly and writing gracious thank you notes. Such traditions have been replaced by fast food and superficial entertainment, which becoming our legacy. Many now eat candy for dinner.
This exhibition will be the first viewing in New York of paintings by the young Chinese artist Hu Ren Yi. His candy color like paintings are cynical and playful with undertones of sexuality, family and politics. They are constructed simply, although the concept is much deeper than what physically appears on the surface of the canvas. The viewer is engaged by the dream like quality of the images. There is an obvious influence of the tradition of Chinese painting that merges with the contemporary.
Aesthetics of Belonging
Curated by Kasia Kay- Scope Artfair- NYC 2007-
Layered and complex ideas of gender, identity, belonging, sexuality and intimate narratives are explored in selected artworks. Presented here short-films examine issues of relationships, the construction of female and her belonging to society, and in relationship.Few works with focus on aesthetics of belonging to space, allude to notions of absence and presence, a sense of place and of no place, volume and void, notions of home, as well as personal freedom and belonging to a pre-constructed world. Artists included: Kristin Anderson, Sandra Bermudez, Emmanuelle Gauthier, David A. Parker, Nick & Shelia Pye, Alicja Karska and Aleksandra Went, and Chris Wasko.
Contemporary Baroque: Extreme Excess/Özel Sergi Participating artists:
Marina Zurkow
Molly Dilworth
Yael Kanarek
Emmanuelle Gauthier
Rsula Endlincher
Curator/ Küratör: Michele Thursz
The participants in this exhibition were chosen as a curator's choice. In the first round of selection, I realized that I was interested in works that represented an ornamental or ornate quality.
The natural tendency would be to connect the obvious definition of ornament and ornate to a traditional Byzantine or, in Western terms, a baroque, and the relationship to art and craft that came from Turkey.
I have decided to go astray, and to instead address a broader public and look at what might be classified as Contemporary Baroque, a category with little to do with the historical definition.
Here we look at the term baroque in relationship to the ornate use of new technologies in the artist studio and in society. Artists today have pushed past the uses of one said medium and practice to create a personal position in what seemed to be a plastic culture.
These works are visually pleasurable, with carefully designed aesthetics to convey complex structures of process, to create an object that can be read in many ways. On first sight the objects can be read as icons, with reference histories that are familiar and not apparently technologically driven, though each work is imbued with the possibilities set forth from technology.
Each artist’s precise use of information and their artisanal skill in producing art objects laden with this information; result in what might be thought of as tangible hyper-objects. They are hyper in relation to information and also in their ability to transfer by means of virtual and physical states, histories, stories, and technical information.
These seemingly decorative works can be read in many ways. They can be thought of linearly as narrative works or a viewer can fall into the proverbial rabbit hole that includes them into the overall narrative of this exhibition: Contemporary Baroque - extreme excess.
.thumbnail.jpg)
