• Molly Zuckerman-Hartung
    Necessary Convolutions
    2007-11
    oil, enamel, spray paint, plexiglass on cut canvas
    36 x 32 inches

  • Molly Zuckerman-Hartung
    Sweat of Gold
    2008-11
    oil, spray paint on canvas
    36 x 24 inches

  • Molly Zuckerman-Hartung
    Bathysphere
    2011
    mixed media on canvas
    16 x 20 inches

  • Molly Zuckerman-Hartung
    X,Y,Z and per se and
    2009-11
    oil, collage and artists frame on panel
    16 x 12 inches

  • Molly Zuckerman-Hartung
    Extending
    2009 - 11
    oil, shells, tile grout, latex and collage on canvas
    14 x 11 inches

  • Molly Zuckerman-Hartung
    Balancing my Mixed Metaphors
    2011
    spray paint and acrylic on linen
    24 x 20 inches

  • Molly Zuckerman-Hartung
    Foraging
    2010-11
    oil, spray paint, crab on canvas
    10 x 8 inches

  • Molly Zuckerman-Hartung
    Vessel-Kink
    2011
    tracing paper, enamel, graphite, collage and tacks
    on rear of canvas
    20 x 16 inches

  • Molly Zuckerman-Hartung
    What’s in the front, whose in the back
    2011
    oil, enamel, glitter, detritus, & cut painted canvas
    Left: 9 x 10 inches; Right: 15 x 12 inches

  • Molly Zuckerman-Hartung
    Bird & Bird (Broad advisory, transactional and contentious capability)
    2011
    oil, spray paint and painted leather
    connecting two paintings
    Left painting: 15 x 13 inches; Right painting: 15 x 12 inches

  • Molly Zuckerman-Hartung
    Hard and Soft Nipples
    2011
    oil, latex, collage, thumbtacks, staples, inlaid wood on canvas
    16 x 14 inches

  • Molly Zuckerman-Hartung
    Living things move toward the edge of chaos
    2011
    oil, spray paint, trash on linen
    18 x 14 inches

  • Molly Zuckerman-Hartung
    Copy, Cut and Paste
    2010
    oil, sand, grout, polyurethane, trash on cut linen
    24 x 18 inches

  • Molly Zuckerman-Hartung
    That one thing follows another accounts for nothing
    2006-10
    latex, watch and collage on canvas
    24 x 18 inches

  • Molly Zuckerman-Hartung
    Venomous, with four pairs of arms
    2008-11
    oil, collage, glitter, and wire on panel
    19 x 23 inches

  • Molly Zuckerman-Hartung
    Tank
    2011
    oil, acrylic, spray paint, Plexiglas, and wood on panel
    15 x 11 inches

  • Molly Zuckerman-Hartung
    Ulcerous gnawing as a reaction to one’s embeddedness
    2009-11
    oil, enamel, leather, collage with artists frame on canvas
    18 x 14 inches

  • Molly Zuckerman-Hartung
    Rectilinear Cephalopod Sampler
    2009-11
    oil and collage on linen
    20 x 16 inches

  • Molly Zuckerman-Hartung
    Every one of us
    2011
    oil on linen
    16 x 14 inches

  • Molly Zuckerman-Hartung
    Get in My Belly
    2011
    oil, marker and cold wax on canvas
    18 x 14 inches

  • Molly Zuckerman-Hartung
    Components of living systems self-organize
    2011
    oil, enamel, collage, spray paint on canvas
    19 x 15 inches

  • Molly Zuckerman-Hartung
    Equilibrium is a precursor to death
    2005-11
    oil, enamel, silver tape, velvet on canvas
    24 x 24 inches

  • Molly Zuckerman-Hartung
    http://www.hotelhome.com.au/HotelHomeWWW/bedspread/DesignSummary.php?bedspreadid=5
    2010
    acrylic, oil, spray paint, enamel, and gravel on cut canvas
    24 x 20 inches

  • Molly Zuckerman-Hartung
    Homecoming Mud Puddle
    2011
    oil, grout, graphite on linen
    15 x 12 inches

  • Molly Zuckerman-Hartung
    Anti-Expeditious
    2011
    oil, acrylic, spray paint, card board, various objects
    90 x 130 inches


PRESS RELEASE

 

It is with great pleasure that Corbett vs. Dempsey presents Negative Joy, a show of new work by Molly Zuckerman-Hartung.  In her Corbett vs. Dempsey debut, Zuckerman-Hartung continues a deeply inquisitive exploration of painting as a primary practice, investigating its material raptures, intellectual speed-bumps, and conceptual limits.  Zuckerman-Hartung, who was raised in Olympia, Washington, and now lives and teaches in Chicago, simultaneously has an adoring relationship with paint – its gooey, viscous, repulsive, sexy physicality – and is also instinctively skeptical of its fetishistic power. Working abstractly, in relatively small scale, she reaches into a deep trick-bag, pouring, spraying, incising, collaging, assemblaging, linking, amputating, and otherwise thoroughly working and reworking her canvases.  An earlier interest in modernist geometry has been subsumed in a much wider array of effects, blasting open cubist facets and placing them in an explosive array of textures, colors, and even images.

Ferociously original and intent on maintaining a permanent personal revolution, Zuckerman-Hartung has rapidly become one of the most visible artists of her generation to emerge in Chicago.  Recent exhibitions have included Anna Kustera Gallery (New York) and Spazio Cabinet (Milan), and in upcoming months she will be featured in one-person exhibitions at Jacky Strenz (Frankfurt) in March, and the Museum of Contemporary Art (Chicago) in May.

Negative Joy is accompanied by a 44-page catalog featuring full-color reproductions of the paintings and a conversation between John Corbett and Zuckerman-Hartung.