ArtSlant - Recently added en-us 40 Sandra Mendelsohn Rubin - Ameringer | McEnery | Yohe - April 24th - May 31st <p><span style="font-family: georgia, palatino;">In this body of work, Sandra Mendelsohn Rubin creates small, but meticulously detailed paintings of the rural northern California landscape, often from an aerial perspective.</span></p> <p><span style="font-family: georgia, palatino;">While in the past she worked solely from life, Rubin utilizes digital photography in her most recent paintings as a supplement to her usual method. Instead of compromising her work, photography as a tool enables Rubin to portray the human presence, made evident through the use of aerial perspectives, in the framework of the natural environment. The use of photography furthers the artist&rsquo;s desire to further bond her works to the physical world.</span></p> <p><span style="font-family: georgia, palatino;">On each canvas, there are several layers of undiluted oil paint applied straight form the tube.&nbsp; The detailed application of paint is enhanced by the somewhat diminutive scale of these works, which transforms the impression of far-off space into an intimate experience. These works are inherently small in order to convey intensity of detail in a way that allows the viewer to physically feel a connection with the surface being depicted.&nbsp;</span></p> <p><span style="font-family: georgia, palatino;">Although the rural northern California landscape remains her inspiration, water has now become the primary focus. It is the element that ties together this particular body of works and is present in some form, whether manmade or natural, on each canvas with the exception of one. The subject of water as a focal point is a reflection on its implicit presence in everyday life.</span></p> Wed, 23 Apr 2014 14:56:07 +0000 Wolf Kahn - Ameringer | McEnery | Yohe - April 24th - May 31st <div class="page" title="Page 1"> <div class="layoutArea"> <div class="column"> <p><span style="font-family: georgia, palatino;">With paintings dating from 1960 to 2014, this exhibition of works illustrates the complex evolution of Wolf Kahn&rsquo;s prolific career.</span></p> <p><span style="font-family: georgia, palatino;">Kahn&rsquo;s early works are nearly monochromatic, concentrating on subtle varying tonalities. Though nature was his inspiration, the subject matter remains allusive. However, by the late 1960s, Kahn began his transition to a bolder palette. Amidst this shift, the subject becomes increasingly explicit while abstractly depicted.</span></p> <p><span style="font-family: georgia, palatino;">The landscape, both real and fantastic, becomes a conduit for imagination and invention and acts as a vehicle for Kahn&rsquo;s painterly gesture and bold exploration of color.</span></p> <p><span style="font-family: georgia, palatino;">Like the late works of Matisse, Avery, and Hofmann, Kahn&rsquo;s paintings from the last decade are a great flowering that celebrate joy, beauty, color, and life.&nbsp;</span></p> </div> </div> </div> Wed, 23 Apr 2014 14:54:11 +0000 Craig LaRotonda - Sacred Gallery NYC - July 12th - August 31st <p><span style="font-size: large;"><strong>Craig Larotonda - "Out of The Light of Darkness"</strong></span><br /> <span style="font-size: small;"><strong>Open Reception - Saturday, July 12th. 8-11pm</strong></span><br /> Exhibition on display July 12th - August 31st.</p> <p>In my show "Out of The Light of Darkness," I continue to explore the theme of humanity's search for enlightenment. I see these works as transportation for the mind rooted neither in time nor place.<br /> This series of work explores the duality and complexity of existence, searching for answers to the universal questions of its meaning. My usual cast of characters appear again: bionic, organic, flawed, idealized, monstrous and beautiful - they all tell their unusual stories about the mysteries of life.<br /> These pieces examine the nature of consciousness, and the struggles of humanity. Reality is much more than what we perceive with our five senses, and they don't necessarily give us the "whole" story. I'm engaged by the spaces in-between; like the passage between life and death which plays as a continuous theme in my artwork.</p> <p>Sacred Gallery NYC was established in December of 2009 by gallery director Kevin Wilson. The gallery&rsquo;s mission is to exhibit a diversity works and artists. Over the last three and a half years, Sacred has featured graffiti artists, painters, photographers, print makers, comic book artists, documenters, and many other types of artists using a variety of mediums, including blood and live performance graffiti. The gallery prides itself on the accommodations that are provided to the diverse communities of artists that New York City and the world have to offer.</p> <p>Sacred Gallery and its sister business, Sacred Tattoo, have been featured with the BBC, National Geographic Channel, Discovery Channel, MTV, TLC, New York Times, The Huffington Post, The Daily News, various tattoo magazines, and many other forms of news and media.</p> <p>Sacred Gallery NYC is conveniently located in Manhattan's SoHo District at <span style="font-size: medium;"><strong>424 Broadway</strong></span> on the northeast corner of Broadway and Canal. Take the N,Q,R, or J.<br /> Sacred Gallery is open daily from noon to 8pm.</p> <p>For purchase inquiries, please email the gallery director at <a href="" rel="nofollow"></a></p> Tue, 22 Apr 2014 22:55:39 +0000 François Anton, Marion Tivital - Axelle Fine Arts Galerie Soho - April 19th - May 11th <p>Axelle&rsquo;s current show features Marion Tivital and Fran&ccedil;ois Anton, two French artists new to Axelle. Anton&rsquo;s oils (often featuring mixed media components) capture the mischief of comic strips while remaining decidedly intelligent, witty and skillfully executed works of art. His pieces juxtapose the loneliness, energy and mystery of his characters with a sense of light-hearted playfulness and humor.</p> <p>On the other hand, Tivital&rsquo;s urban landscapes and minimalistic still-lifes create a much quieter atmosphere. Using a limited palette of subdued tones, she sets old factories, houses and unique pieces of architecture against expansive skies and landscapes. These atmospheric scenes highlight beauty in unexpected places &ndash; desolate factories, plastic bottles and industrial spaces.</p> <p>Also on view are Garel&rsquo;s bronze and wood sculptures, which continue to fascinate viewers. Garel carves his unique animal busts and skulls in wood first and then casts them into limited edition bronze sculptures. We currently have two original wood pieces on view and a variety of bronzes.</p> <p>The spring group show also includes works by Xavier Rodes, Patrick Pietropoli, Eric Roux-Fontaine and Yves Crenn.</p> Tue, 22 Apr 2014 16:23:41 +0000 Laurent Dauptain - Axelle Fine Arts Galerie Soho - May 17th - June 15th <p>French artist Laurent Dauptain returns to Axelle New York this spring for a solo exhibition of all new paintings and drawings. Dauptain, born in Paris in 1961, is best known for his large-scale self-portraits, of which he has painted thousands &ndash; each one highly unique. His prolific autoportraits experiment with different brushstrokes, textures, palettes and varying levels of detail. While Dauptain is most well known for these portraits, his body of work ranges from masterful industrial landscapes to painterly countryside&rsquo;s, seascapes and still life works. With generous paint application, he blends realism and abstraction to create bold representations of both France and the United States.</p> <p>His fascination with self-portraits began at the age of 20 when he received a college assignment to imagine and draw himself at several different ages ranging from 15 to 95. After the project was completed, he decided to undertake the endeavor in real time and paint his actual appearance at various ages. Using mirrors and recent photographs, Dauptain tirelessly creates series of close ups of his own face, each a different expression, each a different approach to painting. He continuously finds new ways to broach his every-changing subject. His portraits are technical explorations into the realm of painting as well as explorations into his evolution as a painter and as an aging man &ndash;physically and psychologically. After over thirty years of painting these images, Dauptain&rsquo;s curiosity, as well as that of his viewers, has proved to be insatiable. The bolder colors and new perspectives on Dauptain&rsquo;s face and body distinguish the self-portraits in this all-new collection from his past work.</p> <p>Dauptain, a graduate of the &Eacute;cole des Beaux-Arts in Paris and the &Eacute;cole des Arts D&eacute;coratifs, gained a master&rsquo;s degree in Aesthetics in 1984. Since graduating from the &Eacute;cole des Beaux-Arts in Paris in 1981, he has exhibited constantly and received numerous awards for his work, including the Grand Prix of the Salon des Peintres de l&rsquo;Arm&eacute;e (2003), the Taylor Prize (2001), and the gold medal of the Salon des Artistes Fran&ccedil;ais (1997). He has had several exceptionally successful solo exhibitions at Axelle since 2007. He now lives and works France. The artist will attend the opening reception on May 17.</p> <p>&nbsp;</p> Tue, 22 Apr 2014 16:16:41 +0000 RAIMUNDO EDWARDS - Y Gallery - April 22nd - May 7th Tue, 22 Apr 2014 04:26:07 +0000 Simryn Gill - Tracy Williams, Ltd. - May 1st - June 21st Tue, 22 Apr 2014 04:19:46 +0000 Michael Rey - Room East - April 27th - May 25th <div class="content"> <p>ROOM EAST will open its first exhibition of work by the Los Angeles-based artist Michael Rey on Sunday 27 April. The works on view combine humor and curiosity; the results of which range from subtle similarity to radical difference. &ldquo;IBJECT,&rdquo; the title of the exhibition, is a neologism that refers to the artist&rsquo;s interest in a hybrid medium:</p> <p>&ldquo;Like sculptures, my works have three dimensions with a bodily presence. Like paintings, they have surfaces that function as compositional planes. They are hybrids. They can be thought of as existing in the interstices of painting and sculpture.</p> <p>The wall works begin in my dreams and drawings.&nbsp;I lie in bed and doodle forms. I restrict myself from familiar shapes that are tethered to conventional meanings. My shapes are foreign, maybe alien. They emerge as something unrecognizable, and only later do I give them titles.</p> <p>To make these forms, I work oil plasticine into the surfaces to create a ground. The choice of this material began as an experiment, but continues to reflect my personal anxieties about finitude. The fragile quality of the result is like skin, a delicate, vulnerable organ. The holes stand in as orifices, points, or measures of space.</p> <p>I have a romantic notion that these works are autonomous, that they resist the pull of being defined by painting as it exists. Each shape and color combination is part of a visual lexicon, a succession of forms that push for a new language.&rdquo;<br /> Michael Rey (b.1979) is a graduate of Art Center College of Design, Pasadena. Recent work was exhibited at Office Baroque, Brussels, and will be included in a forthcoming show at Ratio 3, San Francisco. This summer Rey will have a solo exhibition at Cherry and Martin, Los Angeles.</p> </div> Tue, 22 Apr 2014 04:03:54 +0000 Coosje van Bruggen, Claes Oldenburg, Christian Marclay, Charles Gaines, Latifa Echakhch, Bruce Conner, Céleste Boursier-Mougenot - Paula Cooper Gallery - 521 W. 21st Street - April 26th - May 31st <p>The Paula Cooper Gallery is pleased to present a group exhibition of works addressing the intersection and cross-pollination of music and the visual arts. The exhibition will include works by C&eacute;leste Boursier-Mougenot, Bruce Conner, Latifa Echakhch, Charles Gaines, Christian Marclay and Claes Oldenburg/Coosje van Bruggen. The exhibition will be on view from April 26 through May 31, 2014.</p> <p>The exhibition will present works on paper, sculpture, video and installation works ranging from 1978 (Bruce Conner&rsquo;s short film <em>MONGOLOID</em>, made as an early music video for Devo) to 2014 (Latifa Echakhch&rsquo;s metal wall sculpture <em>Morgenlied</em>). It will include a piano installation by C&eacute;leste Boursier-Mougenot, drawings by Charles Gaines based on musical scores, a soft guitar sculpture by Christian Marclay, and sculpture and works on paper by Claes Oldenburg and Coosje van Bruggen riffing on harps.</p> Tue, 22 Apr 2014 03:56:36 +0000 David Opdyke - Magnan Metz Gallery - April 25th - May 31st <p>Magnan Metz Gallery is pleased to present its premiering exhibition for David Opdyke.&nbsp; The Future Ain&rsquo;t What It Used to Be continues Opdyke&rsquo;s exploration of globalization, consumerism, and civilization's waste.&nbsp; The exhibition will be on view from April 25 &ndash; May 31, 2014 with an artist reception on April 24th, 6-8pm.&nbsp;</p> <p>In 1977, Opdyke&nbsp;was a third grader growing up in post-industrial&nbsp;Schenectady, New York when Voyager 1 was launched. Its contents included a gold record with a message from President Carter, an&nbsp;8-Track&nbsp;Player, and an unprecedented amount of computer processing power. For Americans everywhere the prospect of communicating with distant worlds, owning&nbsp;flying cars&nbsp;and&nbsp;robot maids, and the&nbsp;inexorable&nbsp;promise of a better future seemed less like fiction and more like reality.&nbsp;</p> <p>In August 2012,&nbsp;NASA's&nbsp;Voyager 1 became the first human-made object to reach interstellar space, accomplishing the farthest reaches of the original mission.&nbsp;</p> <p>The Future Ain't What It Used to Be&nbsp;is&nbsp;Opdyke's&nbsp;visual recitation&nbsp;of the 37 years that have passed since the Voyager launch.&nbsp; Imploring us to ask: Weren't we supposed to be living like the&nbsp;Jetsons&nbsp;by now? Has the anticlimactic down pour of i-Phones and 140 characters made mankind more advanced? According to Opdyke, it depends on who you ask, and through his work he begins to unravel a once promised future.</p> <p>Upon entering the gallery, viewers encounter a fallen 25-foot wooden utility pole with preternatural&nbsp;growths and spindles so defiantly resistant they have begun to reclaim it. &nbsp;The Great Wave, an ominous 18 foot Tsunami ink drawing on rice paper, floats on the nearby wall. &nbsp;Closer inspection reveals waves composed of hundreds of firearms, the overwhelming number of weapons perhaps alluding to society&rsquo;s great issue with gun control.</p> <p>On the other side of the wall is Homestead, an eye level sculpture of an abandoned and unfinished luxury high-rise that portends&nbsp;mankind's continued quest to build, but also an ad-hoc&nbsp;shelter presumably for the marginalized. Monument to&nbsp;3:19 am&nbsp;is an arrangement of street lamps and yield signs now immersed within nature, growing like wildflowers. The exhibition also includes works on paper with&nbsp;Opdyke's archetypal arrangements of our ever adapting world such as&nbsp;Cross Connectivity Study&nbsp;in which accumulated piles of discarded cables and devices have become nesting materials for scavenging birds.</p> <p>The Future Ain't What It Used To Be&nbsp;places viewers into&nbsp;Opdyke's&nbsp;iconic scenarios that channel complex forces and ideas, leaving us precariously perched on the tipping point between coherence and chaos. The result is a realization that&nbsp;the total control the future promised may never come to fruition, but perhaps, that's not so bad after all.</p> <p><br /> Born (1969), in Schenectady, NY David&nbsp;Opdyke&nbsp;graduated from the University of Cincinnati with a degree in painting and sculpture. &nbsp;He has created large scale installations at the Museum of Arts and Design in New York, the North Dakota Museum of Art, the Addison Gallery of American Art,&nbsp;Andover&nbsp;MA, the&nbsp;Corcoran&nbsp;Gallery of Art, Washington D.C. and a Brooklyn Public School commissioned by Percent For Art.&nbsp;He was awarded the Aldrich Emerging Artist Award Exhibition, The Aldrich Contemporary Art Museum, Connecticut (2004), and American Paradigms,&nbsp;Corcoran&nbsp;Gallery of Art, Washington D.C. (2004). He has also participated in exhibitions at the Brooklyn Museum, P.S.1, Palm Beach Institute of Contemporary Art, and in venues in Chicago, Zagreb, Lille, and Milan. Opdyke's&nbsp;work is in many permanent collections including the Museum of Modern Art,&nbsp;Deutsche&nbsp;Bank, the Brooklyn Museum of Art, Cleveland Clinic, Progressive Insurance, and the Washington, D.C. Convention Center Authority.&nbsp;The artists lives and works in New York City.</p> Tue, 22 Apr 2014 01:51:04 +0000 Hilda Shen, Ward Shelly, John Roach, Simonetta Moro, Suzanne Kelser, Lawrence Fane - Lesley Heller Workspace - April 27th - June 1st <p>The world is full of things, people, places and words that at first glance seem unconnected and stand alone. Artists have that uncanny ability to find new languages to make the intangible viewable and hopefully understandable. &nbsp;Each artist in this exhibition will show a drawing and an associated object/sculpture. &ldquo;I think the combination of the two will make the seemingly capricious nature of our world clear, if only for a moment.&rdquo; <strong>Jim Osman</strong></p> <p>Inspired by renaissance artist/engineer Mariano Tacola&rsquo;s&nbsp; studies of physics and hydraulics, <strong>Lawrence Fane&rsquo;s</strong> <em>Purifier </em>series of sculptures and drawings imply function from another time; the beauty of utilitarian logic and traces of human scale.</p> <p><strong>Suzanne Kelser&rsquo;s </strong>drawings are in a sense landscapes. Her job for many years was as a computer programmer and she became intrigued by the &ldquo;space &ldquo;of Internet Service providers (ISP). In Kelser&rsquo;s drawings, the woven lines of ISP connections are perfect examples of depictions of the unseen.</p> <p>Working from a mechanical drawing tablet of her own design, <strong>Simonetta Moro </strong>makes panoramic drawings of cities she has lived in like Venice and New York. This tablet can also be set to slowly display the drawing giving the viewer a temporal and aesthetic experience of the transitional spaces along the Grand Canal and the High Line.</p> <p><strong>John Roach </strong>is a sound artist who uses drawing to illustrate and demonstrate the nature of sound. His work creates moments where his combinations make things happen that are unpredictable even chancy &ndash; all the while recording it for posterity.</p> <p><strong>Ward Shelly&rsquo;s</strong>work seeks to memorialize the human condition in an honest and objective way. He makes drawings and installations that have a perfect balance of the analog in his technique &ndash; paint in his drawings, and construction methods worthy of Tatlin&rsquo;s Tower, in his installations.</p> <p><strong>Hilda Shen&rsquo;s </strong>drawing and ceramic pieces seek to capture and combine the elusive space of geology and personal history. Her monotypes seem to be landscapes, but of places felt rather than seen. This depiction of the ethereal is positioned in her ceramic sculptures to make fingerprinted surfaces that twist and collide, suggesting a glimpse of things somewhat intangible, yet there.</p> <p>&nbsp;</p> Tue, 22 Apr 2014 01:45:57 +0000 Monika Zarzeczna - Lesley Heller Workspace - April 27th - June 1st <p>Lesley Heller Workspace is pleased to present the first New York solo exhibition of Polish-Dutch artist <strong>Monika Zarzeczna.&nbsp; </strong>Zarzeczna is fascinated by the reverence we assign to mundane objects: how we perceive value or create meaning by collecting, tying together, or arranging things.&nbsp; Her paper sculptures reflect impressions of her daily encounters with the discarded and devalued debris in her Brooklyn neighborhood.This exhibition features several bodies of work including collages and sculptures from her<em>Trophy, Landscape, Stool Idol, </em>and<em>Souvenir </em>Series.</p> <p>At first glance Zarzeczna&rsquo;s sculptures convey a substantial heaviness, but upon further examination, the ethereal nature of the materials and the process used for their construction unfold.&nbsp; Her shapes resemble human appendages and fragments of the broken toys, car parts, and other debris she sees around her.&nbsp; These forms contain an enigmatic quality; this ambiguity becomes a part of the sculpture&rsquo;s identity.&nbsp; Zarzeczna usespapier m&acirc;ch&eacute; as part of her process. The final layer is often painted rice paper, allowing her to carefully control the color and texture of the piece. This creates the impression of a residual stain or chipped paint, reminiscent of the surfaces of discarded objects. In some instances she decoupages wooden strips, adding another layer of ornamentation and dimension to the work.</p> <p>By elevating her large paper sculptures on furniture or stools, or by tying seemingly useless objects together, Zarzeczna indicates the value she gives the discarded. Each piece of paper, furniture or string has its own past, which&nbsp; when combined with her use of color, texture, and shape, bring a sense of poetic history and meaning to the work.</p> <p>Zarzecna&rsquo;s collages use salvaged paper to construct a landscape in space.&nbsp; She works with the idea of something like a room, using vague architectural and spatial references as well as memories of color and light as a guideline. In <em>Landscape Drawing 1, </em>linear elements that are more common in drawings, are integrated with colored forms that she views as &ldquo;fragments of a place&rdquo;. &nbsp;It is not important for Zarzeczna to make her feelings about these spaces known to the audience. She wants her sculptures and collages to slow the viewer down and spark a connection to their own reflections and memories.</p> <p><em>Monika Zarzeczna was born in Warsaw, Poland and grew up in the Netherlands and moved to New York in 2002. She lives and works as an artist in Brooklyn. Her work has been shown in the Netherlands, Spain and the United States, in the Sculpture Center in LIC, NYC, David Castillo Gallery in Miami and the Spencer Brownstone Gallery in New York. She has enjoyed the Skowhegan Residency, was a resident artist at the WCC Center for the Arts and is a resident artist at the Chashama studio program. Monika Zarzeczna is part of the 2UP artist collective issuing posters that are or were on view at Printed Matter, MoMA Library, Bowery Poetry Club among other venues.</em></p> Tue, 22 Apr 2014 01:39:54 +0000 Blane De St. Croix - Fredericks & Freiser - May 1st - June 14th <p><strong>Fredericks &amp; Freiser</strong> is pleased to present an exhibition of new work by Blane De St. Croix. The exhibition will include a massive sculpture that fills the entire gallery space. Additionally on view will be several drawings/collages.De St. Croix investigates the human relationship to the contemporary landscape and its conflicts with ecology and geopolitics.&nbsp; This will be his first one-person gallery exhibition in New York.</p> <p><em>Dead Ice</em>&nbsp;is based on De St. Croix&rsquo;s extensive field research in the Svalbard Archipelago in the Arctic Circle. Aftertravels on an ice breaker ship, ground site visits, photographic documentation, aerial flyovers, zodiac excursions to glaciers, explorations of abandoned mining towns, as well asnumerousinterviews,De St. Croix&rsquo;s sculptural and drawing practice focuses on the iconic landscape with metaphorical roots in the region&rsquo;s complex history.</p> <p>The scientific term &ldquo;dead ice&rdquo; refers to a glacier which functions like a living organism. When a glacier ceases to move, it melts <em>in situ</em>, shedding ice. This dead ice is no longer a part of a living glacier. De St. Croix&rsquo;s projectserves as both a monument to the Arctic&rsquo;s awe-inspiring beauty and as a memorial to its rapidly melting ice. Symbolically, it refers to the brutal nature of the environment upon humans and vice versa.Underscoring environmental protection issues, territorial rights, and failed exploratory attempts, De St. Croix gives form to our never-ending desire to control the natural world.</p> <p>&nbsp;</p> <p><span style="text-decoration: underline;">About the Artist</span></p> <p>Blane De St. Croix has been awarded the John Simon Guggenheim Memorial Foundation Fellowship, the Joan Mitchell Foundation Grant for Painters and Sculptors, the Pollock Krasner Foundation Grant, the MassArt Alumni Award for Outstanding Creative Accomplishment, and&nbsp;the National Endowment for the Arts Fellowship in Sculpture. He has exhibitedwidely including the Sculpture Center, Long Island City, NY; Weatherspoon Art Museum, Greensboro, NC;&nbsp;The Land Art Biennial,&nbsp;The Mongolian National Art Gallery, Ulaanbaatar, Mongolia;&nbsp;The Contemporary Art Center, New Orleans, LA;&nbsp;The Kathmandu International Triennial, Nepal Art Council, Kathmandu, Nepal;&nbsp;The Johnson Museum, Cornell University, Ithaca, NY; Laumeier Sculpture Park, St. Louis, MO; Gasworks Gallery, London, England; Tomio Koyama Gallery, Tokyo, Japan; Art In Embassies Program of the U.S. Department of State, Washington, D.C; &nbsp;and Socrates Sculpture Park, Long Island City, NY among many others. The artist was born in Boston and lives and works in Brooklyn, NY.</p> <p><em>Dead Ice </em>was partially supported with recycled material provided by Fagerdala Singapore Pte Ltd. and a New Frontiers grant. As a program of the Office of the Vice President for Research, New Frontiers in the Arts and Humanities is funded by the Office of the President and administered by the Office of the Vice Provost for Research, Indiana University, Bloomington.</p> Tue, 22 Apr 2014 20:37:04 +0000 Guy Goodwin - Brennan & Griffin - April 27th - May 25th Tue, 22 Apr 2014 01:17:38 +0000 Rafael Rozendaal, William Lamson, Wojciech Gilewicz, Kate Gilmore, Daniel Conagar, Melanie Bonajo - The Boiler (Pierogi) - May 2nd - May 11th Tue, 22 Apr 2014 01:06:10 +0000 Jayson Musson - Salon 94 Bowery - May 7th - June 21st <p>Salon 94 Bowery presents <em>Exhibit of Abstract Art</em>, a new body of work from Jayson Musson. In his second solo show with the gallery, Musson was inspired by Modern Art set-pieces from the comic strip <em>Nancy</em>, created by the popular American comic illustrator Ernie Bushmiller who worked on the strip from the 1930ʼs-80ʼs. <em>Nancy</em>was titled for the star of the comic strip, an inventive and rambunctious 8 year old girl whoʼs iconic face is almost synonymous with the phrase ʻcartoon stripʼ itself.</p> <p>Throughout <em>Nancyʼs</em> long run, Bushmiller would intermittently poke fun at the then fresh works of modern art as well as modern architecture. The former depicted as works comparable to the dawdling of children, and the latter as simply nonsensical. According to Musson &ldquo;Iʼm drawn to Ernie Bushmillerʼs antagonistic response to modernism and mainly his vitriolic caricature of it. Heʼs turned off by Modernismʼs seeming uselessness, itʼs sophistry, itʼs ʻshamʼ quality, and its ʻeasinessʼ. Buried in his response to the ʻfadʼ of the modern lays a particular kind of fear, the fear of someone witnessing the world change and not having a place in the new order of cultural value. In some ways Bushmiller spoke for a generation watching familiar systems of meaning expire. However, in Bushmillerʼs caricature of art, he drafted some perfect paintings. Where one would see a reductionist punchline, I see a perfection of form in Bushmillerʼs art gags. In his pejorative depictions of abstraction lay a symmetry, balance, and economy of form that is simply exceptional.&rdquo;</p> <p>Similar to Mussonʼs use of scraps of sweaters to create paintings in his last body of work, employing Bushmillerʼs work explores the notion of value in art, how it is derived, and who connotes value. The project also skirts that age-old question of ʻwhat is artʼ when artʼs antagonisms can be absorbed into the cannon. Musson continues, &ldquo;To recreate some of these works, 40-50 years later, and set them into the context of exhibiting them as verifiable works of art is perverse in a way, and perhaps confirms Bushmillerʼs point of view about the whole operation of art. In the end, and despite all the meaning that can be excavated from deconstructing the caricature and parody, Iʼm drawn to Bushmillerʼs brilliant humor. Myself a &ldquo;gag man&rdquo;, explorative play and humor have been the primary motivating force behind much of my artwork.&rdquo;</p> <p>Jayson Musson works in a variety of mediums: painting, photography, video and more. A self-proclaimed &ldquo;dual citizen&rdquo; of Philadelphia and New York, Musson received his Bachelor of Fine Arts in Photography from the University of Arts, Philadelphia and his MFA in Painting from the University of Pennsylvania, Philadelphia. Jayson Musson lives and works in Brooklyn, NY.</p> Tue, 22 Apr 2014 00:57:08 +0000