Skip to content

Frieze London

Sadie Benning, A.K. Burns, Ulrike Müller

Art fair

October 15 – 19, 2014

A work shirt laid over and flattened, made of aluminum

A.K. Burns, Untitled (Shirt), 2014. Aluminum, 34 x 28 inches (86.4 x 71.1 cm)

A flattened tshirt, made of aluminum

A.K. Burns, Discard (T-shirt), 2014. Aluminum, 25 x 21 inches (63.5 x 53.3 cm)

An enamel painting with two green halves, and a small red triangle at the top, on the center line

Ulrike Müller, Spinner und Schwärmer, 2014. Vitreous enamel on steel, 15 1/2 x 12 inches (39.4 x 30.5 cm)

An enamel painting with a red background, and a grey and white squiggle laid over it.

Ulrike Müller, Spinner und Schwärmer, 2014. Vitreous enamel on steel, 15 1/2 x 12 inches (39.4 x 30.5 cm)

An abstract work with a red background, black and white shapes, and a small black and white photo at the bottom-center

Sadie Benning, Hand Stand, 2014. Medite, aqua resin, casein, and photograph, 15 x 21 inches (38.1 x 53.3 cm)

A work that is predominantly white, with abstract black shapes on the right side. At bottom-left corner there is a photograph of an inflated dinosaur

Sadie Benning, Monster Set, 2014. Medite, aquaresin, casein and photograph, 20 x 26 3/4 inches (50.8 x 67.9 cm)

Press Release

Sadie Benning

Sadie Benning’s aesthetically sumptuous works, fashioned by conjoining pieces of colored panel and a mounted found photograph, physically represent states of tension, transition, and imbalance. Not quite delivering painting’s solid image plane, nor springing from the wall as a sculptural object, these primary equations express, for the artist, “our collective condition - caught between one thing and the next.” Significant recent exhibition: Carnegie International, Carnegie Museum of Art.

A.K. Burns

A.K. Burns ladles molten aluminum into sand molds of castoff button-down work shirts and t-shirts to produce a series of gestural mono-print reliefs. The results are silvery indexes of the blue-collar uniform worn by laborers and artists alike. The shirts mark an economic shift from the industrial labor of the body to immaterial and affective labor of advanced capitalism. Significant recent exhibition: Los Angeles County Museum of Art, Recent Acquisitions.

Ulrike Müller

Vitreous enamel has historically been used across cultures as a decorative art, but also by industry for the production of signs and utilitarian objects. Müller adopts this firing technique to produce paintings that repurpose a range of modernist vocabularies. The surface of the works are highly polished, liquid and glassy. The works invite questions about the relationship between abstraction and context, the social meaning of forms, and the emancipatory potential of uncertainty. Significant recent and upcoming exhibitions: MoMA PS1 and MuMOK, Vienna.

Back To Top