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Fresh Cuts

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Yvonne © Artist
Fresh Cuts

4 Newtown Lane
11937 East Hampton
New York

May 28th, 2016 - June 19th, 2016
Opening: May 28th, 2016 6:00 PM - 9:00 PM

QUICK FACTS
WEBSITE:  
http://www.ericfirestonegallery.com
NEIGHBORHOOD:  
Other (outside areas listed)
EMAIL:  
efg@ericfirestonegallery.com
PHONE:  
631.604.2386
OPEN HOURS:  
10am-6pm
TAGS:  
painting, photography

DESCRIPTION

East Hampton, NY: Eric Firestone Gallery, East Hampton, is pleased to announce Fresh Cuts, a group exhibition curated by Agathe Snow and Eric Firestone. The gallery’s rst exhibition of the summer opens Memo- rial Day weekend and celebrates a local tradition of declaring summer at a blossom’s rst sighting. The show’s artists revisit the ower, a symbol that has resonated throughout history. As pervasive in folklore as it is in nature, the ower embodies the undeniable and heavy truths governing life, growth, death, and renewal, reminding us of the beauty found in each phase.

There are as many owers now, as there were snow akes. In art, there is a universal ower from which all others are formed. An archetype that is revealed or buried, awed or idealized, deconstructed and reconstructed. Despite sharing the same visual origin, no artist has ever made the same ower twice. Many artists in Fresh Cuts feature botanical symbolism in their artwork, employing owers as metaphors for culture and humanity. 

Throughout his career, Donald Baechler has gathered, collected, and employed pop- ular images and objects to amass an archive of American culture today. Unashamed, Baechler strips an object of its surroundings and brazenly sets it on display, alone and exposed, emphasized by hard lines and forceful color. As a result, the image confronts viewers, provoking them to call upon their own memories or interpretations of meaning. Conversely, Rosson Crow’s oral imagery inspires nostalgia, describing a place that is at once familiar and distant. Flowers become vessels of collective as- sociations in Crow’s work, representing concepts such as elegance, class, love, and heartbreak.

In turn, the potted plants in Paul Wacker’s shelf paintings are used as clues or props to strengthen narratives and root them in reality. Wacker’s shelf paintings are amal- gams, his impasto compositions depict interiors and collections of objects, real or imagined, and artworks interspersed with plants and owers. This greenery is singu- larly grounded in reality and the familiar, making Wacker’s depictions of improbable objects, tangible and recognizable. In Jessica Craig-Martin’s photography, oral pat- terns illuminate the remains of brash bacchanalia. Craig-Martin presents anonymous images of party-goers partaking in suspicious activities. Her portrayals of fresh roses strewn amongst disregarded Ispahan cakes and braided gold bangles, tell the story of a lost evening. Flowers guide the viewer’s eye across the surface, as the artist offers a voyeuristic view of decadence.

Spring owers, even the resilient dandelion weeds, mark the end of winter’s bitter cold and solitude; summer nights seem full of pos- sibility as days become longer and warmer. With this in mind, Fresh Cuts lls the gallery with artworks inspired by the emergence of summer in the Hamptons and all things that blossom, mimicking the abundant ora both native and foreign that festoon our homes and gardens with bright colors and seductive aromas. As a result, the viewer can buzz from one art piece to the next, hopefully stopping to smell the roses because the most important thing to do this summer is to enjoy it.

Fresh Cuts features artworks by Shoppy (Hrafnhildur Arnardottir), Marco Barrera, Donald Baechler, Sanford Biggers, Kelsey Brookes, Ann Craven, Dan Colen, Rosson Crow, Todd Eberle, Sally Egbert, Leo Fitzpatrick, Danny Fox, Andrew Kuo, Anthony Holbrooke, Cody Hoyt, Hanna Liden, Nate Lowman, Jessica Craig-Martin, Tony Matelli, Jacolby Satterwhite, Miriam Schapiro, Agathe Snow, Odessa Straub, Sage Vaughn, and Paul Wackers.

Eric Firestone Gallery was established in 2010 in East Hampton, New York, and exhibits emerging and established contemporary artists contextualized alongside their historically signi cant counterparts. Along with noteworthy solo exhibitions including Sanford Biggers: Dark Star and Kelsey Brookes: Plants of the Gods, memorable group exhibitions have included, Womanhouse, an homage to the 1972 Feminist project at CalArts, with Firestone’s curation putting Miriam Schapiro and Judy Chicago alongside contemporary female artists. Eric Firestone Gallery has been featured in The New York Times, New York Magazine, Art in America, ArtNews, The Wall Street Jour- nal, Vogue, GQ, Vanity Fair and many other publications. 

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