Exhibitions: First up is the DUMBO ARTS FEST, September 26-28. Teri Hackett and I are putting together a show in the studio at 68 Jay Street, so please save the date. Toward the end of October I have a few exhibitions on the calendar including "Exchange Rate" with Robert Yoder/SEASON at Theodore:Art and "Abstraction and its Discontents" at Storefront Ten Eyck, both in Bushwick. (More details and links to come.)
Teaching: I'm looking forward to teaching two MFA seminars, one at my alma mater, the University of Connecticut in Storrs, and the other at the venerable Pennsylvania Academy of Fine Arts in Philadelphia where I'll also serve as a Visiting Critic. In November, I'm heading north to spend a couple days at Maine College of Art in Portland. I'll give a presentation about my own work and visit the painting studios. I hope it doesn't snow.
With several writing projects and panel discussions lined up, too, I should be pretty busy, but I plan to see plenty of exhibitions in both Philadelphia and NYC--and I hope to see everyone there.
Image above: Photographing small work in the studio at 68 Jay Street, August 2014.
curated by Justine Frischmann
June 7 - July 12, 2014
Reception Saturday, June 7, 4:00 - 7:00 PM
Press Release: For exhibit 39 we are pleased to present Brooklyn Bridge, a group show of fourteen contemporary Brooklyn painters, guest curated by painter Justine Frischmann, and showcasing works by Andrea Belag, Katherine Bradford, Farrell Brickhouse, Sharon Butler, Clare Grill, Clinton King, Chris Martin, Saira McLaren, Paul DeMuro, Mike Olin, Paul Pagk, Jason Stopa, Julie Torres and Wendy White.
Frischmann draws parallels between her experiences with the London Punk revival of the '90s and the current resurgence of raw painting in New York neighborhoods such as Bushwick and Red Hook, making a case for a community-driven aesthetic.
As Frischmann states, "They are closely knit, talking, arguing, listening, competing, supporting each other. Working and living and partying together. They have nothing to lose because no one is listening to them anyway. And then, one by one, they start 'breaking' and all of a sudden, the critics start writing about a movement. And it has power because it didn’t just come from the journalists or the advertising execs, it comes from the streets, from grass roots, from something that had been forming and gaining power for years. It has the advantage of multiple view points and shared experience, a large and complex network of people behind it."
A color 42-page catalog with commentary by George Lawson and Justine Frischmann accompanies the exhibition.
315 Potrero Avenue (at 16th St.)
San Francisco, CA 94103
Image at top: Sharon Butler, Agnes Martin, 2013, pigment and binder, pencil on canvas, 14 x 14 inches.
Pier 36 at Basketball City
299 South Street on the East River
New York, NY 10002
More images available at https://www.behance.net/gallery/16152157/NADA-NY-2014-Sharon-Butler-and-Elisabeth-Kley
Saturday, May 10: 11am–7pm
Sunday, May 11: 11am–5pm
Image at top: Sharon Butler, Gas Grill Assembly, 2014, pigment and binder on canvas with graphite, 66 x 84 inches
From the press release:
The exhibition examines alterations, inversions, erasures, cover-ups, cut-aways, strike-throughs and other amendments in vision, thought and execution by contemporary artists working in a variety of mediums and methodologies.
In the Oxford English Dictionary, the word redact is defined simply as “to edit,” as one might prepare a document for publication. But in the 20th century the term took on a broader depth of meaning inferring myriad associations to obfuscation, disinformation, censorship and the almighty non-sequitur. In contemporary culture, the word “redacted” has connotations that go deeper than blacked out C.I.A. documents. Deletion or disinformation – redactions – in nonfiction can have the effect of turning truth into fantasy. Excision or concealment in written, auditory, or film and video material might alter history, obscure entire hypotheses or convert, disguise or transform content. In the visual brain, imagery can be eclipsed by ocular migraines or sun blindness resulting in a redacted visual field, and in psychology, trauma can result in whole areas of memory that cease to be accessible. But since 1953, when Robert Rauschenberg spent that long month erasing one of Willem de Kooning’s favorite drawings, the idea of redaction has been central to the concept of altered content in visual art.
Organized by Marie Thibeault.