Selected works by Michele Abeles

Michele Abeles
Fuchsia, Yellow, Green, Blue, Numbers, Man, Cement, Paper

2010

Archival pigment print

83.8 x 111.8 cm

Michele Abeles claims that the male bodies she fragments have no greater importance than the bottles, pots, rocks, scraps of paper and flashes of bright colour (in the form of pieces of Plexiglas and coloured gels) that she composes into enigmatic still lifes. It’s true that one has sometimes to look hard for the body parts, but I think she may be selling herself short with the claim.

Michele Abeles
Legs, Number, Frame, Concrete, Blue, Green, Orange

2011

Archival pigment print

57.4 x 43.2 cm

Their presence is substantial enough to interest anyone who enjoys the tradition of the nude. She is not the first to create visual puzzles where picture planes refuse to behave according to convention, and real objects have a flat, cut-out quality – Jan Grover did this brilliantly thirty or so years ago; nor is she a pioneer of truncated male bodies, which began in the 1920s and ’30s – George Platt Lynes comes to mind – and took full flight in the ’80s in the work of Robert Mapplethorpe and John Coplans.

Michele Abeles
#4

2012

Archival pigment print

83.8 x 63.5 cm
Michele Abeles
Arm, Plant, Bottles, Wood

2011

Archival pigment print

50.8 x 65.7 cm

But she has put the themes together in a strikingly original fashion, especially in the way in which she mocks the facile tools of computer manipulation.

Text by William A Ewing


Articles

Depth Of Focus
November/December 2011, by Chris Wiley, Frieze

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Source:Frieze

Openings
November, 2011, by David Velasco, Artforum

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Source:© Art Forum

Goings on about town: Michele Abeles
May 16th, New Yorker

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Source:New Yorker


The New Yorker: Goings on About Town
Skin So Soft

The New Yorker

The itinerant gallery Gresham’s Ghost hosts a group show curated by the artist Josh Kline, who seems
both seduced and repulsed by his own theme: the post human body. (Skin So Soft is a brand of bath oil that has earned a cult following as an insect repellent.) Works by Anicka Yi, Jesse Greenberg, A.K Burns, Brian Clifton, and the collaborative Yemenwed strike a disarming balance between ominous and irreverent, with Kline contributing wall-mounted “desanitizers” dispensing gels laced with live anti bacterial cultures, including one harvested on the G train. The photographer Michele Abeles stands out, with a captivating still-life in which a disembodied elbow is just another disorienting decorative element, on par with a bottle or plant.

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Source:47canalstreet.com