L.A. Exhibitions. Jancar Jones Gallery. A Frayed Knot: Cameron Crone, David Gilbert, Samantha Roth

L.A. Exhibitions. Jancar Jones Gallery. A Frayed Knot: Cameron Crone, David Gilbert, Samantha Roth
Yareah Magazine

L.A. Exhibitions. Jancar Jones Gallery. A Frayed Knot: Cameron Crone, David Gilbert, Samantha Roth. Organized in collaboration with Cole Akers. January 11, 2014 – February 15, 2014. Opening Saturday, January 11th, 7-10pm


But can we say that because we know how to provoke laughter we really know what causes laughter? It would seem, from the history of the philosophical study of laughter, that such is not the case, for it is, on the whole, the history of an insoluble problem. That which first seems so accessible has constantly eluded investigation. It may even be that the domain of laughter is finally – or so it seems to me – a closed domain, so unknown and unknowable is the cause of laughter.[1]

Jancar Jones is pleased to present A Frayed Knot, an exhibition of new work by Cameron Crone, David Gilbert, and Samantha Roth, organized in collaboration with Cole Akers. Although their studio practices are distinct from each other, Crone, Gilbert, and Roth’s work share certain humorous qualities, including punning titles and an often perverse engagement with material. For more than a year, the artists have met regularly to discuss their interests in art and humor; the meetings take a variety of forms: group critique, reading group, hangout. The present exhibition—comprising drawing, sculpture, and photography—embodies their ongoing conversation.

Crone’s sculptures and photographs evidence a nuanced consideration of space and time. Terrazzo sculptures by the artist, for example, describe and map the movement of a pizza box opening. The elements of these sculptural works, which have their origins in working class Italy, literally cement the actions they describe. Crone’s engagement with cardboard and surface material continues in a series of photographs that depict the gradual destruction of cat scratchers staged against remaindered pieces of carpet. In these formal still lifes, Crone creates an uncanny, two-dimensional space from a quotidian, three-dimensional one.

In his work for the show, Gilbert continues his ongoing exploration of framing by surrounding a large, black-and-white photograph with small, colorful objects from his studio. By tacking these physical objects to the wall he brings his process and workspace into the gallery while simultaneously creating clearly defined boundaries. These spatial concerns are elaborated in a related piece, in which photographs of the small objects are printed on a pair of white fabric curtains affixed to the gallery’s windows. Neither distinctly a photograph nor a sculpture, the work registers its uncertain relationship to interior design, to photography, and to the windows themselves.

Roth’s drawings demonstrate the artist’s poetic and pragmatic layering of ideas and objects. Patterns and materials, renditions of textiles, parquet floors, or paper scraps, are repeated in her works.  However, in her practice, Roth seeks to confuse the visual order of her arrangements by avoiding the usual distinctions between illustration and sculpture, studio and exhibition space. Here, the surface is called into question. Her pieces collapse inward and outward, are destroyed then recreated, and blur the line between the work and the surrounding spaces they come to inhabit.

Cameron Crone has shown at Infernoesque, Berlin, and Workspace, Los Angeles. He holds an MFA from the University of California, Riverside.

David Gilbert has shown at Andrea Rosen Gallery, New York; Michael Benevento, Los Angeles; and is represented by Klaus von Nichtssagend Gallery, New York.  He holds an MFA from the University of California, Riverside.

Samantha Roth has shown at Workspace, Los Angeles; Pepin Moore Gallery, Los Angeles; and Bezalel Gallery, Tel Aviv. She holds an MFA from the University of Southern California.

[1] Georges Bataille. “Un-knowing: Laughter and Tears.” Trans. Annette Michelson. October 36 (1986), p. 89.

Jancar Jones Gallery



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