Beschreibung:

Jules de Balincourt Media Information Transmission Center 2003 Oil and spray paint on panel. 38 1/4 x 44 5/8 in. (97.2 x 113.3 cm). Signed, titled and dated “Jules de Balincourt ‘Media Information Transmission Center’ 2003” on the reverse.
Provenance Zach Feuer Gallery (LFL), New York Exhibited New York, Zach Feuer Gallery (LFL), Jules de Balincourt Land of Many Uses, May 17 – June 14, 2003 Literature K. Johnson, “Art in Review; Jules de Balincourt—‘Land of Many Uses’”, New York Times, May 30, 2003; J. Saltz, “Burn Baby Burn: Ready or Not, Two Young Artists Make Their Debut”, The Village Voice, June 4-10, 2003; B. Nickas and Zach Feuer Gallery (LFL), ed., Jules de Balincourt New York, 2005, p. 43 (illustrated) Catalogue Essay Jules de Balincourt’s Media Information Transmission Center, 2003, is testament to modern day media-based imagery. De Balincourt’s craft at creating stunning visual modicums was tapped into by the musical group R.E.M, who featured the present lot as a poster insert for their 2001 studio album Around the Sun. R.E.M.’s music is famous for combining satisfyingly pop rhythms which are at the same time quite poignant and political. The same assessment can be made to the art of de Balincourt. “Today, we encounter an art that is increasingly covert, rather than obvious or confrontational, in terms of its message; politically-charged subject matter is more of an undertow, pulling you in from beneath a calm or welcoming surface. De Balincourt is an artist whose work can be seen as a form of painted commentary on his dissatisfaction with the world— government, big business, youth culture, art and the market—he warily navigates,” (B. Nickas, Jules de Balincourt New York, 2005, p. 4). At the center of de Balincourt’s painting is a sense of immediacy and graphic simplicity. His sophisticated, yet deliberately styled naiveté combined with the provocative content creates a particular black humor. Their unease “extends to the escapism of his own generation, as well as to recent art, which skims the surface of 60s/70s art and culture and celebrates itself as somehow ‘radical’ or ‘free’,” (ibid, p. 7). Read More