ArtSlant - Recently added en-us 40 doubleparlour - myplasticheart nyc - September 12th - October 8th <p>myplasticheart is proud to present&nbsp;<em>Parlor Tricks</em>, an exhibition featuring new works by San Francisco duo doubleparlour. Specializing in handcrafted resin sculptures, they will be introducing a cast of new and mysterious characters highlighting their propensity for the odd and fantastical.</p> <p><em>&ldquo;The theme is inspired by magic and the art of deception. There are magicians who carefully guard their secrets. The smiling assistants hold their breath as danger gliders past so close. Carnival performers display feats that amaze and baffle the crowds.&rdquo;</em>&nbsp;-doubleparlour</p> <p>About doubleparlour<br />Founded in November 2007, doubleparlour is Ernie and Cassandra Velasco. They are a husband and wife artistic collaboration living in San Francisco, CA. Cassandra has a B.A. in Fine Art from Humboldt State University and Ernie is a self taught artist.</p> <p>doubleparlour produces work in a variety of mediums; however, their primary focus is on making hand&shy;formed sculptures and embellished cast resin figures. The work includes a broad range of characters including animal hybrids, mutated humans, and anthropomorphic figures. Their work has been described as &ldquo;unsettling,&rdquo; &ldquo;cute yet creepy,&rdquo; and &ldquo;disillusioned children.&rdquo;</p> <p>Please join us for the opening reception on Saturday September 12th 2015 7-10pm. Both artists will be in attendance. Exhibition runs through October 8th 2015.</p> <p><strong>Parlor Tricks</strong><br /><strong>New works by doubleparlor
</strong><br /><strong>Opening Reception Saturday, September 12th 2015 7-10pm</strong><br /><strong>Exhibition runs through Oct 8th 2015</strong></p> <p><strong>myplasticheart</strong><br /><strong>toy store &amp; gallery<br /></strong><strong>210 Forsyth St.
New York NY 10002</strong><br /><strong>646.290.6866</strong></p> Thu, 03 Sep 2015 20:25:28 +0000 Bundith Phunsombatlert - Cuchifritos Gallery + Project Space - September 18th - October 18th <p>Cuchifritos Gallery + Project Space is pleased to present <strong><em>Memory, Market, and Migratory Transition</em></strong>, a multimedia exhibition by Bundith Phunsombatlert.</p> <p>Based on the mechanic system of View-Master stereoscopes and reels, in addition to the design features and function of baggage carousels, <em>Memory, Market, and Migratory Transition</em> explores the dominance of mediated experience in contemporary culture as seen through a journey into imagined and physical spaces. The moving images of the project, displayed in the form of a three-dimensional View-Master reel built of small television monitors, are recorded from the vantage points of three different topics: landmark scenery in memory; transportation of commodities in the market; and the transition of migration.</p> <p>The installation is initially inspired by Phunsombatlert&rsquo;s childhood memories of playing with a View-Master and the various reels that his family collected. Growing up in a middle class family in Bangkok, Thailand, the handheld machine was a way for Phunsombatlert to see the world, from the Seven Wonders of the World to the Tulip season in Holland. Although the slides of the binocular toy are limited in their potential to understand the complexities of each place, and perpetuate Western notions of consumerism, the View-Master&rsquo;s rotating mechanics and 3-D small color photographs simulate a transition in themselves between still and moving images, and momentarily suspend our perception of imagined versus real or physical places. The implied journey from one slide to another is also meaningful for Phunsombatlert as a media artist who focuses on interactive site-specific projects that use the concept of imaginative space to disrupt various social contexts.</p> <p>Drawing from the Essex Street Market, the artist will also explore how products are transported from their local sources to international marketplaces using the metaphoric representation of a baggage carousel&rsquo;s circular movement, which is similar to that of the View Master&rsquo;s system.</p> Thu, 03 Sep 2015 17:20:31 +0000 Nadia Awad, Zachary Fabri, Donna Huanca, Nyeema Morgan, Lori Nix, Chat Travieso, Work Exchange Artist, Tyler Henry - Smack Mellon - September 26th 5:00 PM - 8:00 PM <p>Smack Mellon Open Studios</p> <p>Artists&rsquo; Reception, Saturday, September 26, 5-8pm<br />Open Studios: Saturday, September 26, 12-8pm Sunday, September 27, 12-6pm</p> <p>Smack Mellon<br />92 Plymouth Street @ Washington Street<br />Dumbo, Brooklyn, NY 11201 <br />Tel: 718.834.8761 -</p> <p>Participating Artists: Nadia Awad, Zachary Fabri, Donna Huanca, Nyeema Morgan, Lori Nix, Chat Travieso Work Exchange Artist: Tyler Henry</p> <p>Also on view in the gallery through November 8: Two Solo Exhibitions Karin Guisti: <em>Honorem: Three Seasons at Black Forest Farm</em> and Michael Kukla: <em>Jeskyne</em></p> <p>Smack Mellon is pleased to offer the unique chance to enter the private studios of our 2015-2016 fellowship artists. The artists will have their latest work-in-progress on view, and visitors will have the opportunity to meet the artists in their studios all weekend.</p> <p>The panelists that selected the 2015-2016 Smack Mellon Studio Artists were: Gary Carrion-Murayari, Kraus Family Curator, New Museum; Lisa Dent, Director of Resources &amp; Award Programs, Creative Capital; Stamatina Gregory, independent curator and critic and Associate Dean of the School of Art at The Cooper Union.</p> <p>Preliminary panelists were: Esteban del Valle, Molly Dilworth, Oasa DuVerney, Lauren Was of Ghost of a Dream, Dread Scott, and Suzanne Song, all former Smack Mellon Studio Artists.</p> <p>More information about our current Studio Artists, visit: Directions to Smack Mellon: F to York Street, A/C to High Street.</p> <p>The Smack Mellon Artist Studio Program is supported, in part, by public funds from the New York City Department of Cultural Affairs, in partnership with the City Council, New York City Council Member Stephen Levin, the New York State Council on the Arts with the support of Governor Andrew Cuomo and the New York State Legislature, the National Endowment for the Arts, and with generous support from The Andy Warhol Foundation for the Visual Arts, Lambent Foundation, The Edward and Sally Van Lier Fund of The New York Community Trust, Jerome Foundation, Richard J. Massey Foundation for the Arts &amp; Sciences, Gilbert Mackay Foundation, The Robert Lehman Foundation, The Greenwich Collection Ltd, Milton and Sally Avery Arts Foundation Inc., Select Equity Group Foundation, and Smack Mellon&rsquo;s Members. Van Lier fellowships were awarded to Nadia Awad, Donna Huanca, and Chat Travieso.</p> <p>Smack Mellon programs are also made possible with generous support from The Roy and Niuta Titus Foundation, Lily Auchincloss Foundation, Inc., The O&rsquo;Grady Foundation, and Exploring The Arts.</p> <p>Space for Smack Mellon&rsquo;s programs is generously provided by the Walentas family and Two Trees Management.</p> Thu, 03 Sep 2015 16:51:41 +0000 T. Elliott Mansa, S. Ross Browne, Wesley Clark, Amber Robles-Gordon - Corridor Gallery - September 3rd - September 3rd <p>&nbsp;</p> <p>In&nbsp;<em>Not in Our Lifetimes</em>, author Michael C. Dawson, argues &ldquo;that achieving the dreams of racial and economic equality will require the sort of coalition-building and reaching across racial divides that have always marked successful political movements&rdquo;. Through works in various media presented by a diverse group of contemporary artists,&nbsp;<em>My Big Black America</em>, curated by Mikhaile Solomon, chronicles both losses and triumphs of Black America both before and during Barack Obama presidency. The group collectively measures the instances in our history of Black America against this critical point in history where we still experience marked examples of inequality and injustice, which do not solely affect Black America but damages the structural integrity of our entire nation.</p> <p>Wesley Clark&rsquo;s work, including the eponymous work from which the exhibition is titled, serve as metaphorical constructs that illustrates both Black America&rsquo;s contribution to building our great nation as well as the endured injustice that has historically characterized the experience of many Americans.</p> <p>&nbsp;</p> <div class="artist-list">Artists:</div> <ul> <li><a href="" rel="nofollow">AMBER ROBLES GORDON </a></li> <li><a href="" rel="nofollow">S. ROSS BROWNE </a></li> <li><a href="" rel="nofollow">WESLEY CLARK&nbsp;</a></li> <li><a href="" rel="nofollow">T. ELIOTT MANSA </a></li> <li><a href="" rel="nofollow">CHARLIE TRAINOR SR.&nbsp;</a></li> <li><a href="" rel="nofollow">JIM MORIN&nbsp;</a></li> <li><a href="" rel="nofollow">RICHARD KURTZ </a></li> <li><a href="" rel="nofollow">PABLO MARTINEZ</a></li> </ul> <p>&nbsp;</p> <p></p> Thu, 03 Sep 2015 06:51:29 +0000 Dona Nelson - Thomas Erben Gallery - September 17th - October 31st <p class="p1"><strong>Dona Nelson - New Paintings</strong></p> <p class="p2">&nbsp;</p> <p class="p3">September 17 &ndash; October 31</p> <p class="p4"><em>Opening reception: Thursday, September 17, 6 - 8:30 pm</em>&nbsp;&nbsp;</p> <p class="p7">&nbsp;</p> <p class="p7">Thomas Erben is very excited to present the gallery&rsquo;s fourth solo exhibition of American painter <strong>Dona Nelson</strong> (b. 1947, Grand Island, Nebraska). <em>New Paintings </em>follows Nelson&rsquo;s widely discussed contribution to the 2014 Whitney Biennial as well as her concurrent, critically acclaimed show <em>Phigor,</em> which led to the acquisition of her work by the Museum of Fine Arts, Boston; Rose Museum, Brandeis University; Museum of New South Wales, Sydney; and the Kadist Foundation. While <em>Phigor</em> clarified the significance of the double-sidedness of Nelsons paintings &ndash; a material and conceptual interdependence between two surfaces &ndash; this show further explores the basic approach behind the work.</p> <p class="p8">&nbsp;</p> <p class="p7">An essential tenet of Dona Nelson&rsquo;s artistic process is labor, in the most fundamental sense of that word. Her practice is built on the <em>work</em> of each painting, with the artist&rsquo;s hand clearly evident in the final result. Nothing is hidden, as every step taken leaves its trace, gestures accumulating into a complex whole. Countering a current value system focused on final product and assigned price, Nelson&rsquo;s paintings instead derive their charge from the time and effort invested in their creation. Their intrinsic value lies in the process itself, as each piece becomes a testament to its own coming into being. The labor of making the painting is the painting.</p> <p class="p8">&nbsp;</p> <p class="p7">Nelson begins each new piece without any preconceived notion of a final result, applying paint or acrylic-soaked cheesecloth onto the canvas and following where the outcome takes her &ndash; staining, pouring, washing, tearing off. Actions taken on one side may be obvious on the other, or leave only subtle traces, sometimes overridden but never completely erased. Take <em>Carnivally</em> for example, where one side is a riot of wildly kaleidoscopic colors, while the other emits a calm glow as if from within, unifying the underlying activity into a ripe orange, a setting sun. The procedure is one of doing, seeing, reacting and doing again. Every subsequent action depends on previous ones, resulting in a complex layering where an earlier decision may dramatically affect later possibilities. This method requires a confidence gained through a lifetime of experience, of not knowing beforehand what will come next but trusting in the process &ndash; or just as important, the confidence to let go, founded in a healthy lack of respect for the end result.&nbsp;</p> <p class="p8">&nbsp;</p> <p class="p7">Dona Nelson moved to New York City in 1967 to participate in the <strong>Whitney Independent Study Program</strong>. She received her BFA from <strong>Ohio State University</strong> in 1968. Over the years, she has had numerous, widely reviewed solo shows, at galleries such as <strong>Rosa Esman</strong>, <strong>Michael Klein</strong> and <strong>Cheim &amp; Read</strong> (all New York); including a mid-career exhibition at the <strong>Weatherspoon Art Gallery</strong> (Greensboro, North Carolina). More recently, she was included in survey shows at <strong>Harris Lieberman</strong>, <strong>D&rsquo;Amelio Terras</strong>, <strong>Mary Boone</strong>, <strong>Robert Miller</strong>, and <strong>Boston University Art Gallery</strong>. Her work has also appeared at institutions such as the <strong>Contemporary Arts Museum Houston</strong>, <strong>New York University&rsquo;s 80WSE</strong>, <strong>Bard College</strong>, <strong>Apexart</strong>, the <strong>Milwaukee Art Museum</strong>, and the <strong>Aldrich Museum</strong>, and is included in the collections of the <strong>Metropolitan Museum of Art</strong>, the <strong>Guggenheim Museum</strong>, and the <strong>Pennsylvania Academy of Fine Arts</strong> &ndash; among others. In 2013, Nelson received the <strong>Artists&rsquo; Legacy Foundation Award</strong>, she was a 2011 <strong>Foundation for Contemporary Arts</strong> grant recipient, and received a <strong>Guggenheim Fellowship</strong> in 1994. Her work will be included in <em>Feed the Meter</em> at <strong>Galerie Bernard Ceysson</strong>, Luxembourg.</p> <p class="p9">&nbsp;</p> Wed, 02 Sep 2015 21:50:14 +0000 Matthew Watson - Joe Sheftel Gallery - September 12th - October 25th <p class="normal">Joe Sheftel Gallery is pleased to present <em>Softening Boxes</em>, Matthew Watson&rsquo;s second solo exhibition with the gallery. An opening reception will be held on Saturday, September 12, from 6- 8pm. The exhibition will be on view through October 25, 2015.</p> <p class="normal">&nbsp;The house can be read as a sensorium. We furnish our rooms with layers of soft material; including curtains, carpets, paintings, bedding, clothing, and cushions. The softness of human skin is mirrored through the skins of the softening boxes we construct.&nbsp;</p> <p class="normal">Watson&rsquo;s recent paintings mark a shift away from depicting the subjects of the painting directly. Represented in the exhibition are two artists, a collector, a dealer, and a critic, yet what is depicted in the paintings are their pets, furnishings, objects, walls, flooring, books, and child. The border between subject and object is softened, a step removed from the humanistic pathos often wrapped up in portraiture.<br /> &nbsp;<br /> This is against the myth of Narcissus who gazed into his own mirror image as the primal form of self-relation. Our relation to the world is not rooted in the internal "I", but instead as the fluid space between subject and environment. Here, the human being proceeds from the social to the individual and not the other way around. It is the social imago that situates our experience of being in the world, where things are not outside of us in some measurable external space. The child psychologist Donald Winnicott provides an antidote to the mirror-stage when he speaks of "transitional" objects, which are the first things a child separates from external reality and appropriates into an ambivalent &ldquo;zone of experience which is between the thumb and the teddy bear, between oral eroticism and the real object relation.&rdquo;</p> <p>Watson&rsquo;s concern with the social and economic relationships that constitute each of his paintings extends to the accumulation of objects that are depicted in each image. Due to the absence of the person with whom the exchange is being conducted, the relations that bind objects, places, and people are brought to the fore. Louis Althusser would term this the &ldquo;real abstract,&rdquo; which he defined as &ldquo;real relations (as relations they are necessarily abstract) between &lsquo;men&rsquo; and their &lsquo;things&rsquo;, or rather, to give the term its stronger sense, between &lsquo;things&rsquo; and their &lsquo;men.' He aptly claimed that one could not depict social relations in an image positively, but it is possible to depict the determinate absence that governs them, as traces between objects and humans.<br /> &nbsp;<br /> For Watson, the technical processes performed by an artist are necessitated by the produced object itself, and not the other way around, which is a refutation of the pure subjectivity of creation. The social and economic relations which accompany the object are sensible, but only in the space between an object, it's producer, and it's beholder. Watson inserts himself into this fluid chain of relations, frequently working on commission or by invitation to start a painting, in turn producing objects that relay back into the very flows that led to their construction.</p> <p>&nbsp;Matthew Watson (b. 1981) lives and works in Brooklyn. He received his MFA from Columbia University and has presented two solo exhibitions at Joe Sheftel Gallery. Group exhibitions include shows at Metro Pictures, New York, NY, Oakland University Art Gallery, Rochester, MI and <em>Shit and Die</em>, organized by Maurizio Cattelan in Turin, Italy, among others. This fall Watson&rsquo;s work will be included in the Kyiv Biennale in Kyiv, Ukraine.</p> <p>For press inquiries and images, please contact the gallery at</p> Tue, 01 Sep 2015 20:14:12 +0000 Dennis Congdon - Zieher Smith & Horton - September 10th - October 10th Tue, 01 Sep 2015 19:58:08 +0000 Matthew Brannon - Casey Kaplan Gallery - September 10th - October 24th <p>Casey Kaplan is pleased to present Matthew Brannon&rsquo;s Skirting the Issue, the artist&rsquo;s 2nd solo exhibition at the gallery. Following a recent three-year &ldquo;textploration,&rdquo; which included the composition of novels and text-based films and paintings, Brannon introduces an anomalous, primarily image-centered installation. Featuring twelve large-scale works on paper, (and what else?), this exhibition focuses on the pictorial and graphic systems that have been everpresent within the artist&rsquo;s practice. In pursuit of a visual language tendered in a similarly suggestive manner to that of the written word through themes informed by paradigms of 21st century cultural and social establishments, Brannon undertakes traditional methods of printmaking, including letterpress prints, silkscreens, and lush hand painting on paper.</p> <p>The underlying story of the exhibition ventures into American history as Brannon explores emotional registers within the context of the Vietnam/American War, and that of America&rsquo;s suggested transition from anti-colonial to anticommunist. In an attempt to better understand the period&rsquo;s ambitions and anxieties, Brannon storyboards and stages, not as a historian, academic or politician, but obliquely (in the sense of Derrida) as an artist. Palpable references to universal yet explicit notions are made; a suspended moment in time holds subliminal connotations that provoke larger queries into social ideals and our personal crises within these constraints.</p> <p>The imagery and objects rendered allude to the mass consumerism that rapidly developed during the lead in to this moment (the &lsquo;40s and &lsquo;50s) in a resounding response to pop cultural idioms provided by television, film, advertisements, and literature. In much of the work there is a playful duality: a diploma rests opposite imagery of stereo equipment; perfume is paired with a Western Union telegram; and comfort food is viewed in tandem with the U.S. capitol, exposing a grand delusion. One of Brannon&rsquo;s desires is to destabilize perception and allow for multiple interpretations within non-linear compositions of diverging pictorial and temporal elements. Skirting the Issue carries this through, releasing the experience by creating a forum where nothing is more suspicious than innocence.</p> <p>[ A R T I S T S T A T E M E N T ]</p> <p>Not too long ago I stood in a gallery looking at the work of one of my peers and had the thought &ndash; this is contemporary art. By that I mean that both the subject and the form of their work was very contemporary and very much about art. As a response, I had the liberating recognition that my own art, long known to have the form of the last century, also took as its subject the last century. Limitations are often productive.</p> <p>I&rsquo;ve been quoted as having once said my art addresses how we are own worst enemies. I no longer ask that question. I know the answer. * I&rsquo;d like now to concentrate on the broader, more complex question of how America is it&rsquo;s own worst enemy.</p> <p>I was born in 1971, 6 years into the Vietnam War, just after the &rsquo;68 Tet Offensive and before &lsquo;73 Paris Accords. Richard Nixon was President. I had entered a world battered from events that left the country&rsquo;s identity in jeopardy and Luce&rsquo;s concept of the &ldquo;American Century&rdquo; shattered. The context from which my generation was to respond was a response to those traumatic times. I didn&rsquo;t realize it at the time but the 80s seemed very much an act of forgetting. In psychoanalytic terms, a trauma not dealt with always finds a way to return.</p> <p>I&rsquo;ve long flirted with this Cold War context. But I&rsquo;d like now to pursue a more concentrated research into the decision-making and events seen from the perspective of a new century. To be clear my research is a personal one. I do this not as a historian, or academic or politician but as an artist might begin to address a history.</p> <p>When I was young, for a few years there was nothing more important than &ldquo;Star Wars.&rdquo; I saw it in the theatre with my family in 1977 in Alaska after multiple attempts standing in lines to see sold out shows. I can&rsquo;t explain the excitement that film had for everyone in my 6 year-old age group. Interesting that it comes out essentially a year after the Saigon airlift evacuation. A traumatic, sad, complicated, messy, unsatisfactory end of a war that no one &ldquo;won.&rdquo; But in &ldquo;Star Wars&rdquo; everything was reversed: we are the good guys. We fight the guerilla warfare, we are united with diverse nations. This isn&rsquo;t post-colonial fall out. The evil Empire has the nuclear bomb and they use it. We win in the end using ancient/spiritual tactics and then receive awards in a massive star-studded ceremony. Everyone I knew loved this film and we bought the toys spawned from it like crack. And now, again, with the U.S. deeply entangled in a highly debatable situation on foreign lands that can&rsquo;t be summed up or resolved simply - on the horizon the country braces for yet again, forty years later&hellip; &ldquo;Star Wars.&rdquo;</p> <p>- Matthew Brannon</p> <p><em>No, because what is commonly assumed to be past history is actually as much a part of the living present as William Faulkner insisted. Furtive, implacable and tricky, it inspirits both the observer and the scene observed, artifacts, manners and atmosphere and it speaks even when no one wills to listen. And so, as I listen, things once obscure began falling into place. Odd things, unexpected things&hellip; Perhaps it was also to remind me that war could, with art, be transformed into something deeper and more meaningful than it&rsquo;s surface violence&hellip; Ralph Ellison, 1981 </em></p> <p><span style="font-size: x-small;">* Short term solutions are easier and provide immediate stress relief, unfortunately they have long-term consequences.</span></p> Mon, 31 Aug 2015 19:24:24 +0000 Denis Darzacq and Anna Luneman - Laurence Miller Gallery - September 10th - October 31st <p style="text-align: justify;"><span style="font-family: arial,helvetica,sans-serif; font-size: small;">Laurence Miller Gallery is pleased to present <em>DOUBLEMIX, </em>an exciting collaboration between Denis Darzacq, widely recognized for his dynamic pictutres of young adults confronting personal and cultural boundaries, and Anna L&uuml;neman, recognized for her colorful abstractions on earthenware and canvas. Now these two artists have teamed up to create <em>DOUBEMIX</em>, unique works that integrate photography and ceramics with unpredictable and surreal results.</span></p> <p style="text-align: justify;"><span style="font-family: arial,helvetica,sans-serif; font-size: small;">Their collaboration balances the fugitive nature of instantaneous photography with the timeless quality of earthenware. A sprinting dog chases not a Frisbee, but a ceramic bowl hovering in the air - an ironic drama as the dog might bite off more than he can possibly chew. A beautiful and sensuous marble statue of a female nude seen from behind is befriended by two butterfly-like ceramic wings that gently caress the polished torso: a dialogue between stone and earth.</span></p> <p style="text-align: justify;"><span style="font-family: arial,helvetica,sans-serif; font-size: small;">In addition to the collaborative works, this exhibition will also include earlier individual works by each artist - photographs by Darzacq, and drawings, paintings, and stoneware by L&uuml;neman.</span></p> Tue, 01 Sep 2015 16:42:54 +0000 Peter DAVERINGTON - The Lodge Gallery - September 9th - October 11th <h1 class="title entry-title" style="text-align: center;">Peter Daverington</h1> <div class="post-meta" style="text-align: center;">&nbsp;</div> <p style="text-align: center;">&ldquo;<strong>Iconophilia</strong>&rdquo;<br />September 9, 2015 &ndash; October 11, 2015</p> <p style="text-align: center;"><strong>Opening Reception: Wednesday, September 9, 7 to 9pm</strong></p> <p><strong>&nbsp;</strong></p> <p class="p1" style="text-align: justify;">The Lodge Gallery is proud to present &ldquo;<em>Iconophilia,</em>&rdquo; an exhibition of new paintings by Peter Daverington on view September 9th through October 11th 2015.</p> <p class="p1" style="text-align: justify;">The hand of an artist can transport us back in time to discover where we came from, or it can take us on journeys forward through dreams to places we never thought possible. In his most recent body of work, Peter Daverington seizes the big picture and presents us with the relics of an evolving world.</p> <p class="p1" style="text-align: justify;">Harvested from the iconography of great masters,&nbsp;<em>Iconophilia</em>&nbsp;is an adventure through the historical cannons of western art. From the invention of oil paint right up into the graffiti tags and throw ups of old school New York street artists, Daverington plunders and appropriates from a vast archive of visual imagery. In the mix are the fading heroes of the late middle ages, such as Cimabue and Giotto, alongside repeated vignettes from the work of renowned American landscape painter Albert Bierstadt. Among the depictions of high and northern renaissance figuration and Hudson river landscapes, Daverington has woven his own iconography of checkerboards and floating geometries seamlessly into the balance. The result is a collection of riotous melodies that oscillate between artifact and artifice.</p> <p class="p1" style="text-align: justify;">As a public meditation on his own future, the future of painting, and the future of western civilization,<em>Iconophilia</em>&nbsp;is also an investigation into the cycles of degeneration and renewal. The strange decayed and distressed cacophony of imagery, abstraction, and erasure in these paintings reflects a world in collapse or one that has already collapsed, perhaps several times over, only to be restored and revitalized so that it may collapse again for future generations. Daverington&rsquo;s poetic reverence for bygone ages and his faith in the future of painting combine here to offer a glimpse of hope amidst the chaos.</p> <p class="p1" style="text-align: justify;">As the artist explains, &ldquo;My recent proclivity for subjecting the canvases to brutal forms of abuse and destruction with a power sander and graffiti&nbsp;is perhaps a subconscious response to the disintegration, ruin, and class warfare occurring within contemporary society. It&rsquo;s worth pointing out that while these works literally depict the iconography of art history as destroyed and defaced, each painting has at least one area that has been lovingly restored.&rdquo;</p> <p class="p1" style="text-align: justify;"><strong>Peter Daverington</strong>&nbsp;is a painter and musician from Melbourne, Australia currently living and working in Beacon, New York. He completed his MFA at the Victorian College of the Arts, University of Melbourne and has held fourteen solo exhibitions since 2004. Peter has been commissioned to paint public murals in Argentina, Australia, China, Egypt, Germany, Guatemala and Turkey. He is the winner of a John Coburn Emerging Artist Award, Rupert Bunny Foundation Visual Arts Fellowship, Australia Council for the Arts New Work Grants and a finalist in the Archibald and Sulman prizes. His work is held in numerous public and private collections. This is Daverington&rsquo;s first solo exhibition in Manhattan.</p> <p class="p1" style="text-align: justify;"><br /><strong>The Lodge Gallery</strong>, founded by Keith Schweitzer and Jason Patrick Voegele, is located at 131 Chrystie Street on Manhattan&rsquo;s Lower East Side. It is the exhibition venue of Republic Worldwide and serves as both an art space and a gathering place for hearty discourse and experimentation.</p> <p><strong>&nbsp;</strong></p> Sat, 29 Aug 2015 22:15:11 +0000 Liam Everett - On Stellar Rays - September 24th 7:00 PM - 8:30 PM <p>On Stellar Rays in pleased to announce the release of&nbsp;<em>INUTILE</em>, a limited edition artist's book by&nbsp;Liam&nbsp;Everett. On September 24, On Stellar Rays will celebrate with a book reelease party.<br /><br />The book features drawings by&nbsp;Everett that trace and layer the forms of outdated hand tools, found by the artist in a studio outside Toulouse, France. Rust marks mix and stain the brittle sheets of a 60 year-old watercolor block found amongst the tools, leaving indexical fragments of now-obsolete utility, pushed to the point of abstraction. Images are presented alongside texts by Bruno Tollon&mdash;describing the history and purpose of the tools&mdash;and prose by Rabih Alameddine.<br /><br />Co-published by On Stellar Rays, Altman-Siegel Gallery, San Francisco, and RITE Editions, San Fransisco. 2015.</p> <p>Artist&rsquo;s Book. Full color, clay pigment printed. Hard cover. Stitch bound. Limited edition of 45 and 5 APs. Signed, dated and and numbered.</p> Fri, 28 Aug 2015 19:28:01 +0000 Julia Bland - On Stellar Rays - September 9th - October 25th <p>On Stellar Rays is pleased to announce the opening of Julia Bland&rsquo;s first solo exhibition with the gallery and in New York, <em>If You Want To Be Free</em>.</p> <p>Bland&rsquo;s large-scale works incorporate painting and weaving, exploring the structures and patterns that combine disparate elements into a whole. Ropes, painted canvas, and fabrics woven by the artist are stitched together, forming boundaries that further bind the work &ndash; warp to weft, image to object. The surface is a visible record of Bland&rsquo;s evolving and multi-faceted process.</p> <p>Bland utilizes abstraction to negotiate the space between geometry, symbolism, and representation. Shapes emerge &ndash; an arrow, a shelter, a canyon, a figure &ndash; seemingly familiar, universal, and archaic.&nbsp; While the compositions incorporate structures that imply pure or timeless forms, color and materiality evoke an embodied visual experience. This contrast generates a transient exchange between subjectivity of personal memory and consciousness of the infinite or eternal.&nbsp;</p> <p>Julia Bland (b. in Palo Alto, 1986) received her MFA from Yale in 2012, and her BFA from the Rhode Island School of Design in 2008. In 2008, she received the Natasha and Jacques Gelman Travel Fellowship to study Islamic art and Sufism in Morocco.&nbsp; Recent group exhibitions include On Stellar Rays, New York; Vox Populi, Philadelphia; Asya Geisberg Gallery, New York; Anna Kustera Gallery, New York. She is currently a resident in the Sharpe-Walentas Studio Program.</p> Fri, 28 Aug 2015 19:00:30 +0000