Sign-ups will be posted on Monday Oct. 11th at 11:00.
Studio Visits for Wednesday Oct.13:
Lecture is at 7pm at Warner.
Julian Hoeber was born in Philadelphia, Pennsylvania in 1974 and currently lives in Los Angeles. He received a MFA from Art Center College of Design, Pasadena; a BFA from the School of the Museum of Fine Arts, Boston, MA; a BA in Art History from Tufts University, Medford, MA; and he also studied at Karel de Grote Hogeschool, Antwerp, Belgium. Hoeber has exhibited in the U.S. and Europe and his work was included in Compass in Hand: Selections from The Judith Rothschild Foundation Contemporary Drawings Collection, The Museum of Modern Art, New York, NY (2009); Panic Room - Works from The Dakis Joannou Collection, Deste Foundation Centre For Contemporary Art, Athens Greece (2007); Dark Places, Santa Monica Museum of Art, Santa Monica, CA (2006); and 2004: Planet B: The Aesthetics of the B-Movie, Palais Thurn & Taxis and Magazin4, Bregenz, Austria, among others. He has had solo exhibitions at Blum and Poe, Los Angeles, Galleria Francesca Kaufmann, Milan, Italy, and Praz-Delavallade, Paris, France. Hammer Projects: Julian Hoeber is his first one-person museum exhibition.
Critic and historian Luc Sante writes of Hoeber's latest work: With Demon Hill, Julian Hoeber has reunited the siblings (of the high and the low in culture). His work is at once a meditative, austerely sensual conceptual art object and a carny trap. Because the piece is located in a museum, it is perforce an art object. Because the museumgoer is led into the piece without explanation and then visually deceived and viscerally assaulted, it is perforce a fairground dodge. Because the piece stages the dérèglement de tous les sens within the confines of a white cube, it forcefully merges several distinct currents of modern and postmodern art. Because it employs the museum as an institutional shill in order to suborn blameless patrons, rendering them helpless before its manipulative designs, the piece is necessarily a promotion, a shakedown, a dry shave. Hoeber’s work deliberately sets out to make you see both the rabbit and the duck simultaneously. It is to the classic mystery spot what Duchamp’s Étant Donnés is to the peep show, and it would be quite at home in Marfa, Texas, if Marfa, Texas had a midway. It is a solidly constructed feat of engineering meant to convince the mark that up is down and day is night, and as such it retails transcendance out of the back of a truck--but that does not make it any the less transcendant. Hoeber’s previous work has included filmed meditations on the difference between violence and fake violence (Killing Friends, 2002) and between revolution and revolutionary pretensions (Talkers Are No Good Doers, 2005), drawings that among other things measure how far op art can be undermined without losing its illusional power, and sculptures that seek the point where a human head stops being a human head as a consequence of violence (both from All That Is Solid Melts into Air, 2008). As an expert walker of high wires, razor edges, and philosophical controversies, he is exceptionally well situated to bring about the reunion of the effete high and the brutish low, mutually engaged in an installation of meditative chicanery.