Michael Voss. Veronica I.
Friday, April 28th, 6-9pm
MICHAEL VOSS | Paintings with Names and Related Drawings
On view: April 28 – June 9, 2017
NEW YORK – 57W57ARTS is pleased to announce four solo exhibitions featuring the work of Michael Voss, Tracy Grayson, Daniel Wenk and Sean Sullivan. On view from April 28th through June 9th, there will be an opening reception for the artists on Friday, April 28th, from 6-9pm.
In the Main Gallery, Michael Voss will present a series of abstract paintings on linen and a selection of recent drawings. Voss’s small-scale canvases embody a subtly-shifting boundary between deceptive simplicity and stealth complexity. They are composed of color gestures that are as strikingly intimate as they are vastly open-ended. Voss does not just title his paintings, he names them; Jacqueline, Ana Garcia, Fuentes. By intuitively naming each canvas upon its completion, Voss ties his work to the notion that a name is at once an abstract and general term while also personifying a specific individual.
Michael Voss received his MFA from Hunter College. His work has been shown in gallery & museum exhibitions throughout the US and internationally, including George Lawson Gallery (San Francisco, CA), Parallel Art Space (Brooklyn, NY), Riverside Art Museum (Riverside, CA), Raum X (London) and ABContemporary (Switzerland). Voss’s work is in the permanent collections of Bayerische Staatskanzlei, Munich; BMW AG, Munich; and Alcoa, Lever House, New York. In November 2017 Voss will have a solo exhibition at Galerie Wittenbrink in Germany.
57W57ARTS | 57 West 57th Street, Suite 1206, New York, NY 10019
212.644.8337 | firstname.lastname@example.org
Hours: Wed – Friday, 12-5, Saturday 12-4, or by appt.
Rick Briggs, 2017.
Ortega y Gasset Projects is pleased to announce, a solo exhibition by Rick Briggs, with an opening reception on Saturday, April 22, 6-9pm. The exhibition runs until Sunday, May 21st. The exhibition is curated collectively by the Co-Directors of Ortega y Gasset Projects.
This exhibition represents the last six years of paintings by New York based artist Rick Briggs. (I) Pine is an invitation into the ambiguities and slippages of abstraction. Briggs’ work explores the physicality of paint through gesture and layering with the use of house-painting materials such as rags, paint sticks, and rollers. These utilitarian items are presented in ways that often defy their intended purpose: collaged into paintings as evidence of play, exploration, and intuition. The detritus of a house-painter’s vocation are gathered and re-contextualized. Disks of dried paint peel from the bottom of near-empty paint cans or paint-caked rollers that are inserted through the painting’s surface. Mid-sized and small works explore the artist’s inexhaustible curiosity with the possibilities and processes of paintings. Large-scale paintings made by rolling, spraying, pouring or splashing the paint declare the body’s movements and remain as indexical moments of existence.
The frankness of the artist’s tools and techniques belies the purpose of a true idealist, a true believer, a true painter: the pursuit of freedom and the desire for mystery. In a Kierkegaardian way, freedom and mystery are in a suspended state of becoming. They are open-ended endeavors driven by an impulse, a curiosity or a longing.
Rick Briggs received a BFA from Tyler School of Art and a MFA from SUNY Purchase. He was a recipient of a Pollock-Krasner Fellowship (2012) and The Guggenheim Memorial Foundation Fellowship (2011). He has exhibited at Valentine Gallery, Sideshow Gallery, Yale University School of Art, Islip Art Museum, and Brooklyn Museum of Art.
Paul Behnke, The Spirit Gef Speaks to Voirrey’s Astral Body from Behind the Wall, acrylic on canvas, 62 x 60 in.
Paul Behnke: Strange Entities
Opening Reception: Friday, April, 21 6 – 9 pm
April 21 – May 21, 2017
Gallery hours: Friday – Sunday, 1-6 pm.
Gallery Gary Giordano is pleased to present this exhibition of new paintings by Paul Behnke.
Behnke’s current body of work operates at the intersection of Pop Culture and Spirituality with a particular interest in the way the Mystic (used in the colloquial sense) is co-opted by comics, movies and novels. And how this indoctrination into the quasi-spiritual causes us to relate to the ideas of religion, myth and the supernatural.
From the Artist’s Statement:
I’ve always cast a wide net in terms of my influences – poetry, pop art, comic books, opera, advertising – I’ve never discriminated. But the inclusion of recognizable images that stem from those influences were left to – well, not chance, but process. There was a sub-conscious drawing upon my personal depository, but the actual forms and shapes emerged from a sort of primordial soup that I didn’t attempt to sort through.
I still start a painting the same way – laying down paint and lines and then choosing areas or forms that I want to either capitalize on or eliminate. But now, I find myself looking at what rises to the top of that soup and recognizing shapes as the manifestation of ideas I’ve been working with . . . suddenly, it isn’t the process that is driving the images in the painting, but my own mythology – even as I’m creating it.
Movies, films, comic books and super heroes, spiritualism and mysticism are all co-mingling with my formal romantic modernism, in a very literal sense. My new work contains many figurative elements that relate to the intersection of pop culture and spirituality with a special emphasis on the Mystic (used in the colloquial sense) and how that is co-opted by comics, movies and novels.
I’m particularly interested in the indoctrination of quasi-spiritual concepts into our personal morality and how we use that to cope with current political challenges. I spent much of my childhood in Memphis watching classic staples like the Andy Griffith Show and the Big Valley and I’ve always been fascinated with the idea that our moral codes are crafted from these early experiences. We develop our ideas of heroes and villains, right and wrong, from this strange mix of traditional and popular stories.
I’ve been working through this more additive process through drawings on paper and small paintings, as well as the large acrylic paintings I’m known for. It feels both more personal and authentic than the more formal abstractions I’ve done in the past, as well as more socially relevant as we as a society grapple with complex issues and our own need for spiritual sustenance.
***DONATE TO TIGER STRIKES ASTEROID’S FUNDRAISER***
We are excited to announce that Tiger Strikes Asteroid has officially become a 501©(3) non-profit organization!
Since its founding in 2009, Tiger Strikes Asteroid has been run by artists who volunteer their time and money to help keep our spaces going. What started as a small group of artists with a tiny space in Philadelphia has now grown into a network of four spaces with over forty artists involved as members. We have been able to produce incredible exhibitions and projects on shoestring budgets: showing over five hundred artists, many of whom are underrepresented in the art world, in over one hundred fifty exhibitions and projects. Our network brings artists, collectors, and viewers together, in person and online, to create an egalitarian conversation about art that shatters walls between our distinct locations. We do this through artist-initiated exhibitions, artist talks and panel discussions, and open forums that directly engage with the diverse communities where we work.
TSA is proud to be a part of the global resurgence of artist-run exhibition spaces. These spaces, run by artists who sacrifice their studio time and finances in order to provide opportunities for other artists and to create communities, are integral to broadening the critical dialog in the art world. We have worked to become a leader in promoting artist-run initiatives, including organizing an art fair specifically for artist-run organizations during Art Basel Miami Beach. This effort allowed many groups to reach an influential audience that they wouldn’t normally have access to, and gain press recognition from sources that were previously unfamiliar with many of the artist-run spaces involved.
It is both our structure and our reach to the broader community which is truly unique and sets us apart. Because of TSA’s coast-to-coast reach, we are able to provide a structure for elevating new and underrepresented voices in a way that creates a true national network. Our work is vital, and becoming more so every day as artists are being called upon more and more to create their own discourse. That’s why we are asking for your help so that Tiger Strikes Asteroid can continue acting as a non-commercial, alternate model to the conventions of the current art market.
We are excited to see Tiger Strikes Asteroid move from a collection of artist-run spaces to becoming a true artist-run institution. We hope that you will join us in making this happen.
Your tax-deductible gift will help fund:
- Exhibition support, helping to underwrite shipping, installation, materials/supplies, educational materials.
- General operating support, helping to support the network of locations that build community through unique and meaningful interactions with artists, students and the public.
- Artist Support Fund. One of our future goals is to help artists produce work with small grants and residencies.
***DONATE TO TIGER STRIKES ASTEROID’S FUNDRAISER***
FLIP YA LID
Saturday, April 8, 2017 to Sunday, May 14, 2017
Opening Reception Saturday, April 8, 2017 6:00 PM to 9:00 PM
at PROTO Gallery, 66 Willow Ave., Hoboken, NJ 07030
The gallery is open to the public Saturday and Sunday 10:00 AM to 4:00 PM or by appointment
Raymond Saá approaches his multi-media artistic practice as a builder of lines, shapes, and structures in sewn works on paper, paintings on canvas, and large installations. His work explores the chance tensions that arise between juxtaposed colors and shapes as they are constructed into compositions.
Raymond Saá was born in New Orleans, raised in Miami, and now lives in New Jersey.
Selected solo exhibitions include: Court Gallery, Raymond Saá, William Paterson University, NJ; Locust projects, El Dulcerito Llego, Miami, FL; Crossley Gallery, Ringling School of Art and Design, Ahi Viene el Frutero, Sarasota, FL; White Columns, White Room, Lindo Yambú, New York, NY. Selected group exhibitions: The Dodge Foundation, Black, white and green, NJ; Islip Museum, Cut outs, Islip, NY; Wave Hill, Glyndor Gallery, transplant/ transculture, New York, NY; Museum of Art Puerto Rico, The S-files, San Juan, PR; El Museo del Barrio, El Museo’s Bienal, The S files, New York, NY. Selected awards and residencies: Public Art for Public Schools PS 357X, New York, NY; Joan Mitchell Center Artist in Residence Program in New Orleans, La.; Pollack Krasner Foundation, New York, NY; Joan Mitchell Foundation, New York, NY.
Images courtesy of Nick De Pirro, PROTO Gallery.
Doug Baulos: The Gentle Sadness of Things
March 15-May 17, 2017
Lowe Mill ARTS & Entertainment
256 533 0399
David T. Miller
March 4-April 15, 2017
Closing Reception: April 8, 2017
Cellini Studios & Gallery
A two-person exhibition of sculptures by Sarah Bednarek and paintings by Nichole van Beek will be featured at Suffolk County Community College’s Flecker Gallery from February 9 – March 7, 2017. The exhibition’s opening reception will be on Feb. 9 from 1-3 p.m.
Pivotal Axes sets the stage for a dialogue between two artists who are largely concerned with form, geometry, and the abstract, but also who also believe that these concerns carry meaning that has social and political implications. This is a thought provoking exhibition; a collection of exquisitely made objects and images that call into question the role of the hand-made and the individual in a time of extreme consumerism, as well as the role of perception in an age where truth is increasingly elusive. These artists works are imbued with subtle elements and clues, revealing themselves fully only to the sensitive viewer engaging in slow, thoughtful, and contemplative ways of seeing.
Nichole van Beek earned her BFA from The Cooper Union in 1998 and her MFA from The University of California, Santa Barbara in 2007. She is represented by Jeff Bailey Gallery in Hudson, NY and has exhibited work at Geoffrey Young Gallery (Great Barrington, MA), Morgan Lehman Gallery (New York, NY), Interstitial (Seattle, WA), and Ortega y Gasset and The Parlour Bushwick in Brooklyn, among other spaces. In 2016 she received a Pollock-Krasner Foundation grant to attend the Vermont Studio Center. She was also the recipient of a New York Foundation for the Arts grant in painting in 2012, and in 2011 she participated in Socrates Sculpture Park Emerging Artist Fellowship. She has taught in the Intensive English Program at Pratt Institute since 2012. She lives and works in Queens, NY.
Sarah Bednarek earned her BFA from the University of Minnesota in 2002 and her MFA from the Sculpture and Extended Media program at Virginia Commonwealth University in 2005. Her exhibition record includes solo, curated, and group shows, both nationally and internationally with recent shows at the Thomas Hunter Project Space, Hunter College (New York, NY), ADA Gallery (Richmond, VA), ruSalon (Brooklyn, NY), Yashar Gallery (Brooklyn, NY), The Parlor (Brooklyn, NY), Zurcher Gallery (New York, NY), and Mulherin + Pollard (New York, NY). She has received awards and scholarships in support of her art including recent residencies at Hunter College, and the Sculpture Space Residency (Utica, NY). Bednarek is a cancer survivor and lives and works in Brooklyn, NY.
The exhibition will feature a full-color catalog with an essay by NewYork-based artist and critic Karen Schiff, as well as an extended dialogue conducted by both artists.
Please contact the gallery for directions, to schedule an appointment, or to request a catalog.
Suffolk County Community College
533 College Road, Selden, NY 11784
Monday – Thursday 10 a.m. – 4 p.m. and by appointment
High-resolution photos: https://goo.gl/photos/o7uWCjKdH9SbkhQa8
Pivotal Axes: Sarah Bednarek and Nichole van Beek Catalogue download
Thread Count (2016)
acrylic on canvas, 10 × 8 inches
Editions of You
3039 West Carroll
Chicago, IL 60612
Peter Shear’s Open Paintings
“On the day when I know all the emblems,” he asked Marco, “shall I be able to possess my empire, at last?” And the Venetian answered: “Sire, do not believe it. On that day you will be an emblem among emblems.”
— Italo Calvino, Invisible Cities
Once, when Peter Shear and I were discussing an earlier exhibition of his non-painted works at Indiana University, he offered a curious justification for his installation decisions: “I suspected a poetics.” Indeed, Shear’s small paintings at Devening Projects, on first look, might appear suspiciously simplistic. A squiggle here, a brushy wash there; where hard-edge forms profess a certain amount of confidence, their cratered, lumpy surfaces belie the self-assurance of the shape’s border. Images that might convey grandiosity painted on canvases measured in feet rather than inches instead seem to barely assert themselves, brush strokes often failing to reach the canvas edge. Shear also doesn’t seem interested in developing a specific range of pictorial inquiry—rather than tuning a handful of ideas to their sharpest tenor, he seems to move on to a novel approach each time he has the gist of the work jotted down onto canvas.
This is an important distinction. Shear’s works feel like ideas of paintings. They are certainly not studies, however: they are too closely attuned to the compositional tipping point on which they balance, too intimately aware of their own scale, too unconcerned with ambition. Rather, they work more like the half-conscious dreams you might have when you are still falling asleep, or like the uncertainty of peripheral vision. Shear is an insightful improviser, more akin to the continually inventive, blissed-out jam band than to the ear-piercing licks of rock and roll superstars. The zigzags, washes, and lumpy deposits are just ideas—sweet nothings and pillow talk—and have only just entered the first moments of form. But ideas, full of the promise of potentiality without the disappointments of actuality, can be beautiful things. Shear preserves this natal moment, one that most painters disguise.
Like any poet or painter worthy of the name, Shear understands the significance of small decisions. Even as he strives for images that compel our attention, the striving is never concealed. However, Shear’s poetics is hardly a simplified romanticism: it is bound up with suspicion. The paintings have, as he puts it, “just enough criticality,” just enough awareness. Shear’s achievement (though ‘achievement’ is too strong a word, too finalized a notion to comfortably partner with Shear’s work) is this delicate balance of poetics and suspicion. While each painting is strangely compelling, each works in a different way. This alone is a significant accomplishment, since most painters find a few mechanisms they understand and then repeat and refine them, but it is also essential to Shear’s suspect poetics. Shear maintains the open potentiality of painting in the works he presents us (for which ‘finished’ and ‘unfinished’ are hardly appropriate terms). The images may seek the status of emblems, but unlike most signs and symbols, Shear’s paintings never pretend to be anything other than made, anything other than possible. Shear titrates poetics and suspicion, beauty and criticality, completeness and incompleteness, into a delicate alchemical mixture that is continually revealing.
-Brian T. Leahy
A self-taught painter and occasional organizer of exhibitions, Peter Shear has exhibited across the United States and Europe, most recently alongside Ellen Siebers in Basic Instinct at FJORD, Philadelphia; Matthew Wong in Good Bad Brush at The Occasional Gallery, Burlington, Washington; and Katelyn Eichwald at Alter Space, San Francisco. Recent group exhibitions include Dek Hed, curated by Ross Simonini at The Thing Quarterly, San Francisco; Bring Something Pink, curated by Yifat Gat at Espace Despalles, Paris; and The Black & White Project at Transmitter, Brooklyn, NY. Other past exhibitions include the solo shows Family Resemblance at ATM, Austin; Dragon Express at Welcome Screen and Peer Review at the Imperial College of London; Drops of Jupiter at Bannerette and The Double Down, curated by Trudy Benson and Jason Stopa at Trestle Gallery, Brooklyn; Reason and Romance curated by Alain Biltereyst at 6b Gallery, Elingen, Belgium; and Transposed Planes at LVL3, Chicago. Peter Shear lives in Bloomington, Indiana.
A solo exhibition at Augsburg University’s Christensen Center Art Gallery
January 16-March 23, 2017
Gallery hours: Mon-Fri, 9am-7pm
There will be a gallery talk on Mon March 20 (time TBD)
720 22nd Ave S
Minneapolis, MN 55454