Work > and Child (2016)

100
Acrylic on linen
Approx. 68” x 68” x 2”
2015
5’ 1
Gold acrylic on pedestal and floor
5’ 1” x 1’ x 1’
2016
and Child (Cat. 131)
Colored pencil and graphite on cotton paper
14” x 10”
2015
and Child (Cat. 365), and Child (Cat. 481)
Colored pencil and graphite cotton paper
13 ½” x 7 ¾”, 14” x 10”
2015
and Child (Cat. D105, D106, D109, D111, D112, D119, D120, D122, D124, D128, D136, D149, D184)
Colored pencil and graphite on cotton paper
51 ¾” x 48”
2016
and Child (Cat. 470)
Colored pencil and graphite on cotton paper
8” x 7 ¾”
2015
and Child (Cat. 701, 719, 815, 885, 977)
Colored pencil and graphite on paper
30” x 39 ¾”
2015
and Child (Cat. 1006, 1384)
Colored pencil, graphite, acrylic on cotton paper
19 ½” x 12 ½”
2015
and Child (Cat. 1297)
Colored pencil and graphite on cotton paper
9 ½” x 7 7/8”
2016
and Child (Cat. 1531)
colored pencil, graphite, acrylic on cotton paper
23” x 24”
2015
and Child (Cat. 1671)
Colored pencil and graphite on cotton paper
12 ½” x 8 ½”
2016
and Child (Cat. D1, D5, D6, D8, D9)
Colored pencil and graphite on cotton paper
30 ½” x 30”
2015
and Child (Cat. D11, D12, D13, D20)
Colored pencil and graphite on cotton paper
21 ½” x 30”
2015
and Child (Cat. D34, D38, D39, D43, D47, D48, D56, D57)
Colored pencil and graphite on cotton paper
30” x 51 ½”
2016

Review by Christopher Michno

Press Release

Commonwealth and Council presents Kang Seung Lee: and Child, a new body of work that surveys the verisimilitude of ‘gold’ currently on the market and the American industrialist and art collector Norton Simon’s history of acquiring and deaccessing artwork on the theme of ‘Madonna and Child.’

Revealing a strong personal penchant for the sacred theme, Simon amassed 48 European renditions of the iconic ‘Madonna and Child’ from the Medieval period through the Renaissance and into the 17th century. He purchased his first exemplar, Albrecht Dürer’s Madonna by the Wall, in 1964 and his last, Nicolas Poussin’s The Holy Family with the Infant Saint John the Baptist and Saint Elizabeth, in 1981. Based on this public record of Simon’s acquisitions and deacquisitions, Lee postulates a differentiating index that highlights the collector’s fervor by isolating and focusing solely on the ‘Infant Child.’ Lee’s 48 colored pencil renderings of the ‘Infant Child’ emphasize the supernatural, otherworldly qualities of the man-child embodied within, transfiguring his physiognomy from a state of innocuous inertia to one of heightened alterity.

Starting in the 14th century, smaller-scaled artworks (predominantly religious paintings illustrating Biblical narratives, including the life of Christ) became available to private collectors belonging to the merchant class. Gold played two key roles during this time: it was both a medium of artistic production (gold leaf) and currency in the marketplace (18K Italian coins). As a symbolic gesture of commerce and devotion, Lee collects and samples an array of gold acrylic paint of various grades (craft, artist, studio, professional), material qualities (iridescent, antique, pearl, etc.), and countries of manufacture (Canada, USA, France, Germany, Australia, UK, etc.). Excreted from each tube or vessel, hundreds of globs of gold paint become abject specimens of bodily transgressions. Variant samplings of opulent dollops and splatters form a grid on linen canvas, sprawl across the floor, and spew down a plinth 5 feet 1 inch tall. In this way they form a procession of value, challenge our perception of preciousness, and dissolve clear distinctions between the sacred and the profane.

All photos by Ruben Diaz