"His reliance on the grid anchors his work to the architecture of the canvas, as his saturated color palette recalls <span style="font-style: italic; color: rgb(51, 0, 0);font-size:130%;" ><span style="font-weight: bold;">the tawdry glamour of Los Angeles</span></span>, the artists’ home. "<br /><br /><span style="font-style: italic; color: rgb(153, 153, 153);">-Robert Overby: Paintings from the 80's </span><br /><br /><br /><a href="http://farm8.staticflickr.com/7241/6909997260_9cfe38e6d8_b.jpg"><img alt="" border="0" src="http://farm8.staticflickr.com/7241/6909997260_9cfe38e6d8_b.jpg" style="display: block; margin: 0px auto 10px; text-align: center; cursor: pointer; width: 700px; height: 775px;" /></a><br /><br /><br />"if they could see me now, <span style="font-size:100%;">booming and zooming</span>,<br /><span style="font-weight: bold; font-style: italic;">if they could see me now</span>, booming and zooming" <a href="http://www.youtube.com/watch?v=PFnGJPI-Wa0" style="font-style: italic;"> (here)<br /></a><br /><br /><a href="http://fredericksfreisergallery.com/exhibitions/current/image_14.html"><span style="font-style: italic;font-size:130%;" ><span style="font-weight: bold;">Fredericks & Freiser</span></span></a> and <a href="http://andrewkreps.com/index.html"><span style="font-style: italic;font-size:130%;" ><span style="font-weight: bold;">Andrew Kreps Gallery </span></span></a>are pleased to collaborate on an exhibition of <span style="font-style: italic;font-size:130%;" ><span style="font-weight: bold;">Robert Overby’s</span></span> late paintings. Paintings from the 80’s will include a selection of Overby’s large-scale works that constitute the artist’s last major series. <br /><br />Beginning in 1969, Robert Overby <span style="font-weight: bold;">(1935–1993)</span> produced an eclectic body of work that was rarely exhibited in his lifetime. Despite a diversity of mediums and an equally wide range of subject matter, Overby returned consistently to the human form. His polyurethane stretches and ghost-like latex casts of walls and doors belong to the history of late 60’s and early 70’s <span style="font-style: italic; color: rgb(102, 0, 0);font-size:130%;" ><span style="font-weight: bold;">experiments in anti-form, process art, and post-minimalism.</span></span> His 1980’s image paintings are post Pop combinations of figure and abstraction that explore similar issues of surface, decay, and the skin between the real and its incorporeal other. <br /><br />Overby’s paintings recall both the acuity of renaissance-style painting and that of graphic design. His reliance on the grid anchors his work to the architecture of the canvas, as his saturated color palette<span style="font-style: italic; color: rgb(51, 0, 0);font-size:130%;" ><span style="font-weight: bold;"> recalls the tawdry glamour of Los Angeles, the artists’ home.</span></span> Simultaneously culled from high-end fashion magazines and pornography, the women of Overby’s quasi-figurative paintings are disembodied from the forms they suggest. Additionally, the shapes that impose themselves upon their bodies and faces further enhance this sense of removal.<br /><br /><br /><br /><br /><br /><br style="color: rgb(255, 255, 255);"><span style="color: rgb(255, 255, 255);">----------------</span><br style="color: rgb(255, 255, 255);">

"His reliance on the grid anchors his work to the architecture of the canvas, as his saturated color palette recalls the tawdry glamour...

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