Showing posts from May, 2012

Inaugural Show @ Ethan Pettit Contemporary Art

More to see during Bushwick Open Studios.
Inaugural Show Ethan Pettit Contemporary Art 119 Ingraham Street, Suite 312 Brooklyn, NY 11237

Björn Meyer-Ebrecht: Bushwick Open Studios

Studio view courtesy of the artist.
Björn Meyer-Ebrecht will be participating in this year's Bushwick Open Studios. Meyer-Ebrecht's studio will be open on Saturday and Sunday, June 2 and 3 from 12 - 7 PM.
1182 Flushing Avenue, 2nd floor Brooklyn, NY 11237
You can also catch Meyer-Ebrecht's work in two shows during BOS...
Actual Wood a group show  June 2 - 3, 12 - 7 PM Outpost 1665 Norman Street Ridgewood, NY 11385
Usual Suspects a group show curated by Jon Newman Opening Friday June 1, 8 - 10 PM Brooklyn Fire Proof East 119 Ingraham Street Brooklyn, NY 
For more information on what to see during Bushwick Open Studios check out Jason Andrew's guide here.

Carl Moore & Melissa Dunn @ L Ross Gallery

Carl Moore (above) and Melissa Dunn

Carl Moore and Melissa Dunn: I Can See Your House From The Highway June 1 - 30, 2012 Opening Reception: Friday, June 1, 6 - 8 PM L Ross Gallery 5040 Sanderlin Ave Memphis, TN 38117

Hex @ Janet Kurnatowski Gallery

Hex curated by Joelen Mulvaney June 1 - July 1, 2012 Opening Reception: Friday, June 1, 7 - 9 PM Janet Kurnatowski Gallery 205 Norman Ave Brooklyn, NY 11222

Deborah Brown @ The Active Space

Deborah Brown, Freewheeling, 2012, oil on canvas, 70 x 80 in. courtesy of Lesley Heller Workspace

Deborah Brown: Freewheeling June 1 -  July 1, 2012
Opening Reception: Saturday, June 2, 7 - 10 PM
The Active Space
566 Johnson Avenue
Brooklyn, NY 11237

Charting The Not @ Centotto

Gili Levy, 2012, Untitled, gouache on paper, 11 x 15 in.

Charting the Not Featuring works by Austin Thomas, Meg Lipke, Josh Willis, and Gili Levy Opening Reception: Friday, May 25.  7 - 10 PM Open during Bushwick Open Studios, June 2 - 3. 2 - 7 PM Centotto 250 Moore Street #108 Brooklyn, NY 11206

Monoliths Or Monuments: A Studio Visit With James Erikson

Recently I had the opportunity to visit the studio of Philadelphia based painter, James Erikson. Erikson makes quiet, yet insistent paintings - process oriented, oil on canvas, works that linger in the mind of the viewer, demanding interpretation. In the same way a passage of music can seem familiar, though it has never been heard, Erikson's paintings stir underlying thoughts and feelings that are more race memory than personal experience. The resulting works are august, influential forces that are hard to define but easy to know.

James Erikson in his studio. Piladelphia, 2012.
From the Artist's Statement:
I make nature-based abstractions with special attention given to layering and surface variety. The imagery is a dialogue between organic and geometric. I use natural colors, carefully chosen color relationships with nature-influenced light. I want to see the physicality of the process but still retain a mystery as to how the painting transpired. The surface is worked, reworked, an…

Gary Hume @ Matthew Marks Gallery

From the artist's statement:
I painted them as history paintings, the killing of Osama Bin Laden. That moment, that one second, in American history. One is of Obama. Another is of Angela Merkel; another one of George Bush, but they don’t look like them at all; another one is of a ‘Z’ that looks like a bit of a barn door. One day I’m in the studio looking at them thinking, you’re absolutely kidding me. This just looks like a bunch of balloons going across a field. When I was painting them I was thinking of Rembrandt and Franz Hals, and the paintings have got nothing in them of Rembrandt or Hals. I’d finished with the painting of the horse. I’m looking at the seven paintings thinking I like them but they’re all rubbish, because I’ve set out to make this vast history painting suite and it just looks like anxiety, and a horse. Anxiety and the horse. That’s exactly what they are. That’s all right. Then the paintings could live.

Gary Hume: Anxiety and the Horse Through June 23, 2012 Matt…

Chantal Joffe @ Cheim & Read

From the Press Release:
Joffe’s use of fashion, while loaded conceptually (i.e. its negative associations with female objectification and the “male gaze”), derives from an honest and innocent appropriation of fantasy: Joffe chooses images that she finds most alluring, especially in terms of sparking imaginative narrative, and is driven by a love for and identification with the female form and its accessories. Further, the rich compositional elements fashion provides—texture, color, pattern—complement Joffe’s fluid and technically accomplished painting style (see Woman in a Red Flowered Dress or Blonde in a Shell Chair (both 2012)). Abstracted forms and saturated surfaces bring attention to the lush materiality of paint itself, a focus that has dubbed Joffe a “painter’s painter.” Though her work is loosely executed, it is also, in contrast, almost obsessively observant, capturing the unique qualities and details of her subject.

Chantal Joffe through June 22, 2012 Cheim & Read 547 W 25th…