Curatorial Portfolio (2011-2018)
ENGAGED EDITIONS: Creative Advocacy in Print
November 17, 2018 – January 11, 2019
A group exhibition of artists’ books, creative publications, and prints used to promote collaborative advocacy, foster community engagement, and address social justice issues. The exhibition includes works by individual artists as well as collaborations between artists and social justice organizations, including protest banners created by the Milwaukee-based community organization Voces de la Frontera. Voces de la Frontera is led by low-wage workers, immigrants and youth whose mission is to protect and expand civil rights and workers’ rights through leadership development, community organizing and empowerment. The picket signs are a combination of bold text and compelling illustrations silk-screened onto muslin.
Queens based, multi-generational printmaking collective Mobile Print Power(MPP) contributed “Chill Space,” a tactile and interactive installation, which includes graphic hand-sewn fabric works created through public collaboration, a small library of books representing five years of public projects, and handmade sketchbooks produced to facilitate the exchange of ideas and knowledge during public events.
Works by individual artists addressing social justice issues range from unique artists books, prints, limited edition zines, hand-embroidered fabric work, and deconstructed paper forms created from pulpified newspapers. Among these are Tia Blassingame’s Mourning/Warning: Flags (2018), a series of forty-two sewn nylon flags that correspond to people listed in Blassingame’s book works Mourning/Warning: An Abecedarian and the recent Mourning/Warning: Numbers and Repeaters. Each flag represents an African American man, woman or child that experienced violence, is missing, or died from violence or police brutality including Trayvon Martin, Marissa Alexander, Eric Garner, Oscar Grant, Phoenix Coldon, and Mario Woods.
Meredith Stern’s artistic interpretation of the Universal Declaration of Human Rights is a series of linoleum relief prints illuminating the preamble and articles of the UDHR. The declaration was adopted by the United Nations in 1948 to address many of the injustices that took place during the World War II, including issues pertaining to civil rights, economic rights, political rights, sexual rights, environmental rights, social rights, and developmental rights. Two prints from this series will be on view as well as an artist book capturing all 30 articles affirming individual’s rights as expressed in the text.
Engages Editions: Creative Advocacy in Print also celebrates the release of Booklyn’s newest trade publication Freedom of the Presses: Artists’ Books in the 21st Century and encourages artists, authors, and social practitioners to create and collect artists’ books as a tool for social justice.
Booklyn is pleased to present Working Space, a group exhibition of works in progress, prototypes, process ephemera and sketches alongside finished artworks.
In May 2018 Booklyn moved into ArtBuilt Brooklyn, a vibrant new arts community at the Brooklyn Army Terminal that houses art studios, art businesses, art galleries and other arts non-profit organizations. Our opening date was pushed back because of construction setbacks, but we have decided to have an exhibition anyway.
We are embracing the delay by adapting new site-specific programming, with an untraditional and experimental inaugural exhibition to introduce our new space during its transitional growth and the surrounding arts community of ArtBuilt Brooklyn. The exhibition theme parallels the surrounding environment, a working studio under construction, by inviting Booklyn artists and studio neighbors to work out and test their ideas in a public setting. The exhibition becomes a workspace for feedback, constructive critique and conversation. The artwork in the show will grow and evolve over the course of one month as artists are encouraged to continue working on their pieces throughout the exhibition.
June 1 – 22, 2018
Calico Gallery, More info.
PICNIC is a group exhibition referencing an artist interview project of the same name. Started in March 2015, PICNIC is an online platform to share artists’ work and studio practices through a series of conversational interviews formed over sharing a meal with artists in their studios. On the website, interviews are viewed alongside studio photography, works in progress, materials, and personal collections, giving background to finished works. Feeding off the idiom “starving artist,” PICNIC brings an equally vulnerable creation to the floor of each artists’ studio, facilitating a communal critique and more intimate dialogue.
This exhibition celebrates the third year of PICNIC by featuring all visited artists to date, including works by: Adams Puryear, Austin Thomas, Caroline Paquita, Chrissy Angliker, Gahee Park, Jason Kachadourian, Jon Bocksel, Jonathan Campolo, Kate Nielsen, Michael Hambouz, Mike Taylor, Pareesa Pourian, Sara Berks, Steph Becker, and Sto Len.
The exhibition will include paintings, drawings, ceramics, sculpture and artist’s books juxtaposed with an interactive display and printed leaflets, allowing viewers to preview interviews and studio photography giving context to the artists’ processes and concepts behind the exhibited works.
Visit www.picnics.studio for more information on the background of the project and to preview artists’ work.
PAST SOLO EXHIBITIONS:
November 22, 2014 – January 18, 2015
The Booklyn Art Gallery is pleased to present Conflict Unknown, an otherworldly drawing installation and solo-exhibition from alternative comics and animation artist Lale Westvind.
Coinciding with the release of Now & Here #3: Trial One, the final book in a series of experimental comic based works, Conflict Unknown combines original graphite drawings, paintings on wood panel, screenprints and a site-specific wall painting. Westvind’s drawings and paintings depict characters, symbols and events of an allegorical belief system spawned from the experimental comic series. Artworks act as artifacts, schematics, advertisements, religious relics and sacred objects of an imagined mythos from an alternate reality. The female protagonists are confronted by physical and telepathic violence in murky jungles, abstract interiors, echoing black oceans, energetic mountain ranges and vast aggressive plains. Conflicted by cryptic forces, our heroines question their self-awareness, consciousness, and physicality.
While the juxtaposition of confidential sketches with finished works gives the viewer the illusion of omniscience, the works’ chaotic philosophy and apocryphal truths create a state of total unknown and questioning. Exploring the conflict between physicality and mind, the narrator, often shifting perspectives, dimensions and subsequent consciousnesses, chronicles the world both in first person and alternately as omnipresent guide. Westvind’s unparalleled poetic style is mirrored by her unusual work process, creating the drawings first and later allowing the text to evolve from that spontaneous visual narrative. The chaotic conflict and spiritual philosophy of the narrative are rendered energetically with diagonals and broken planes. The brash brushstrokes of Westvind’s paintings and layered graphite lines of her drawings capture overlapping moments in time and space reminiscent of Italian Futurism.
Conflict Unknown is Lale Westvind’s first solo-exhibition, the fifth and final in a series of one person shows dedicated to New York based artists exhibiting audacity and prolific output in the self-publishing community. Westvind attended the School of the Art Institute of Chicago and now lives in Harlem, New York. As an alternative comics and animation artist her work has been published and exhibited nationally, in 2012 she won the Ignatz Award for Promising New Talent.
Asshats for Shitheads
September 12 – November 9, 2014
The Booklyn Art Gallery is pleased to present a solo-exhibition by Sto Len, debuting a new body of the artist’s work reinterpreting suminagashi printmaking through a series of paintings, prints, and artist’s books.
Suminagashi or “floating ink” is a paper marbling process originated in Japan in the 12th century. This process produces monoprints by painting patterns onto the surface of water with ink, laying down a piece of paper, and removing after a few seconds. These patterned papers were initially used by bookbinders as decorative endpaper to mask the bumps and cords of leather bound books. They were also used on book covers to hide dirt and wear more successfully than plain paper.
Using less traditional materials including a plastic swimming pool, Sto allows dirt, paint, residue (and the occasional insect) to build up on his painting surface for days and weeks while preparing a print. Lead in a meditative trance, the ink and artist succumb to the properties of the water and gravity, letting nature alter the artist’s initial strokes. The resulting artworks are textured and dimensional, infused with dirt and often pieces of the floor. Sto’s chance intervention of dirt and residue teases the decorative origin of this process, channeling Arte Povera and Dada tendencies.
Sto Len is a Brooklyn based painter, muralist, musician, performance artist, self-publisher and co-founder of Cinders Gallery.
NO (A Masterless Universe)
June 21 – August 24, 2014
No (A Masterless Universe) is an exercise in weakening the fetters of power within our restricted cosmos using painted, drawn and bound sigils. The artist flirts with repeated attempts to relieve the stresses of living in a limitless universe, fraught with empty desire, habitual violence and law. Through painted incantation, echoing affirmation, totemic defiance, and denial, we find freedom from negative energy, bad vibes, fathers, cops, fear, masculinity, lies, reptilian overlords, buttheads, boneheads, yo-yos, and jerks.
Using found and ephemeral materials the artist concurrently questions the limits of governing forces mentioned above as well as the physical limits of the materials themselves. No (A Masterless Universe) combines paintings on newsprint, hand-colored screenprints on cardboard and paper, pennant flags, and three new artist book editions published exclusively for this exhibition. The combative theme is paralleled by the artist’s repetitive execution, exhausting each medium through dozens of incarnations of synonymous subject matter. Exhibiting all repetitive and honest trials, the amassed serial artwork becomes a solidified regiment against the sullied and corrupt forces that wish to control. It is an attempt to manifest a freedom that may only exist on a blank page.
No (A Masterless Universe) is Jason Roy’s first solo-exhibition and the third in a series of one person shows dedicated to Brooklyn based artists exhibiting audacity and prolific outcome in the self publishing community. Jason Roy studied printmaking at the State University of New York at Purchase College. He has since continued printing his own artwork, comics, and t-shirts as well as collaborating with other artists and musicians. He is also an educator with an emphasis on instructing others in renegade screen-printing and heretic art production.
Garden of the Womanimal
April 12 – June 8th, 2014
The Booklyn Art Gallery is pleased to present GARDEN OF THE WOMANIMAL, an installation by Caroline Paquita and a small survey of thirteen years of drawings, paintings, prints, sculptures and zines.
GARDEN OF THE WOMANIMAL explores a recurring theme throughout the recent years of Caroline’s work, depicted in a wide variety of media, a cult of “womanimals” half-women/half-wild animals are illustrated in landscapes of playful sexual scenarios, mystical adventures, and explorations of nature and the body. The womanimals’ corrupt playfulness and exuberance are contrasted by the meticulously clean line work of Paquita’s drawings and paintings. Newer works are surrounded by thirteen years of imagery demonstrating the evolution towards this theme and its stylized representation.
Culling works from her personal collection GARDEN OF THE WOMANIMAL creates an audacious yet welcoming environment of new and past works including drawings, paintings, screenprints, paper mache, sewn soft sculpture, wood sculpture, Risograph prints and zines. The installation is climaxed by Paquita’s new artist book, published exclusively for the exhibition, compiling years of screenprints, publishing ephemera, and drawing reproductions into a beautifully hand-bound hardcover limited edition.
GARDEN OF THE WOMANIMAL is Caroline Kern’s (aka Caroline Paquita) first solo exhibition in New York. Born in Miami in 1980, Caroline studied creative photography and art history at the University of Florida in Gainesville. In addition to her personal art practice, Caroline is a musician and an independent publisher working under the guise Pegacorn Press. Printing exclusively with Risograph since 2009, she has collaborated with and published work by Al Burian, Anna Haifisch, Brontez Purnell, Mike Taylor, Sy Wagon, and Lale Westvind. Coinciding with the exhibition, Caroline and Booklyn are collaborating on compiling and archiving sixteen years of her self-published zines to be released as a limited edition box-set on Friday, May 9, 2014.
January 18 – March 30, 2014
“Who’s memories become historical memory? How did the 1960s become The Sixties we are mandated to remember, bookended by the appearance of The Beatles on Ed Sullivan and the Manson Family murders? How is Bill Clinton a rock ‘n’ roll president presiding over a nation of apparently self involved slackers who ended the ‘90s with a full scale uprising against unregulated “free” trade in Seattle? What aspects of your life and culture right now will be nullified by popular history? Flowers in the dustbin? No Future For You?” – Mike Taylor
NO/FUTURE responds to this inquiry through a series of narrative paintings, drawings, prints and three new artists’ book editions varying in execution and content, published exclusively for this exhibition. NO/FUTURE paints an episodic panorama birthed from personal memories, experiences, extensive research, and observations on political and cultural mythology.
NO/FUTURE is Mike Taylor’s first solo exhibition in New York, and Booklyn Art Gallery’s first solo exhibition in a series dedicated to Brooklyn based artists exhibiting audacity and prolific outcome in the self publishing community. Mike Taylor’s organic marriage of text and imagery and anecdotal inclinations evident in this exhibition, have carried throughout his career spanning two decades of screen printing, painting, drawing, editorial illustration, comics and zines published since the mid90s.
Zine Of The Month
November 2- December 8, 2013
Zine Of The Month is a project started in 2009 that releases limited-edition and handmade artist zines, featuring collaborations between printer and publisher Mark Price and a plethora of Philadelphia and New York based artists. Each monthly publication is hand-printed and bound by Price at Space 1026, a long standing artist co-op and exhibition space in the Chinatown neighborhood of Philadelphia. Zine Of The Month has involved many artists who work and who keep studios at Space 1026. The monthly releases are offered through a yearly subscription and feature varying reproduction and binding techniques including screen printing and photocopying to translate the artists’ work to the intimate and tactile medium of ‘zines.
Booklyn will host a retrospective exhibition with a library of past releases on view, coupled with print ephemera from the project, and a gallery of original works by artists who have participated in the project including Beth Brandon, Jason Hsu, Hilary Price, Abbey L Sarver, Max Seckel, Lance Simmons, Miriam Singer, Jason Rusnock, and James Ulmer.
BRASS IN POCKET
September 13 – October 27, 2013
The Booklyn Art Gallery is pleased to present BRASS IN POCKET, a group exhibition featuring work by Susan Fang, Liz Linden, Lynnette Miranda, Caroline Paquita, Catherine Stack, and Tamara Waite-Santibanez, and Book Swap… a collaborative project by Liz Linden and Jen Kennedy.
We approached this show with the desire to represent contemporary feminist artists working in different media with the commonality of transcending subject matter and traditional techniques in print, collage, drawing and sculpture. Instead, BRASS IN POCKET is a group of New York-based women artists who are doing just that, but whose work may not necessarily be described as “feminist art.”
What we discovered through this process is that it is less of a “feminist” concern to narrowly define this work as “feminist art.” It is more important to bring the work, the pushing of boundaries and mediums, to light. Throughout our studio visits feminist themes emerged. While often not the forefront of the artist’s subject matter, each artist still faces a sexist power structure within the art world, and within her everyday life.
Prevailing draftsmanship and experimentation in media is what drew us to these six artists. Liz Linden’s oversized “cartoons” feature particularly desolate photographs selected from The New York Times juxtaposed with broken fragments or quotes from their respective articles; the lack of context evokes a strong sense of dissociation, and highlights the absurd. Tamara Waite-Santibanez’s recent work combines the traditions of Chola culture and punk culture through tightly rendered graphite drawings that reference imagery and techniques relative to her profession as a tattoo artist. A publisher and artist who bridges the gap between the print and performance worlds, Caroline Paquita will debut new papier mache sculptures. Susan Fang’s playful pornography collages both highlight and obscure sexuality, while her rice paper t-shirt sculptures toy with the physicality and symbol of an object. Obfuscating the interpretation of texture and pattern, Lynnette Miranda will display new works in textile that build on her previous experiential dialogue in sculpture. Similarly, Catherine Stack’s practice blurs the lines between print, textile, and sculpture; creating etched collage reliefs, utilizing non-traditional materials during the printing process, and further manipulating the finished prints with layering, embroidery and collage.
The exhibition will also feature Book Swap… a collaborative project by Liz Linden and Jen Kennedy. This ever-evolving feminist lending library promotes the exchange of feminist thought, critiques, and conversations, while encouraging community-based knowledge. In praxis, Book Swap… allows each participant to contend with the idea(s) of “feminism” on their own terms, an action which is at the heart of this show. The library has previously been exhibited at DISPATCH, The Brooklyn Museum’s Sackler Center, the Center for Book Arts, and the Dumbo Arts Center, and morphs with each new manifestation. Give a book, take a book.
BRASS IN POCKET is a “women show” that is not about women. What it is about, is pushing the mediums themselves, as well as the definition of what feminism–or feminist art–can be. BRASS IN POCKET is the eighteenth in a series of group exhibitions dedicated to providing self-publishing artists, who generally share their work through printed matter and other ephemeral media, with a platform for exhibition, experimentation and exploration outside of the printed format. Curated by Aimee Lusty & Katherine Wadkins.
THE BIGGER PICTURE
July 13 – August 25, 2013
The Bigger Picture is a group exhibition of small-scale two-dimensional works presented as amassed panoramas and motley installations, featuring drawings and paintings by Conor Stechschulte, James Ulmer, Julie Torres, and Scott Meyers. Each artist is represented by a plethora of serial works exhibited together as a whole, as a picture of an ongoing series, idea, and continued process.
The Bigger Picture features over a dozen drawings and paintings by each artist, exposing a praxis not immediately recognizable when viewing only one or two of their works. The conglomerate juxtaposition of the artists’ work paints a picture of their inclination towards a preference in scale, medium, subject, composition, and palette. While revealing a shared penchant for thematic repetition and uniformity, there exists an inevitable consequential evolution unfolded by these self-defined boundaries.
A Portrait of the Artist as a Young Dude
May 10 – June 23, 2013
A Portrait of the Artist as a Young Dude explores the personal narratives of six self-publishing artists, featuring prints, comics, drawings, and artists’ books by David Sandlin, Jason Roy, Josh Freydkis, Lale Westvind, Maren Karlson, and Mike Taylor.
Working primarily through drawing and silk-screened editions, these artists share a common self-referential and satirical perspective, tackling everyday life idiosyncrasies with humor and personal anecdotes. Their collective observational approach explores personal revelations, documentation of their surroundings and reflections on culture, politics, and the human condition. The work in this exhibition illustrates not only an autobiographical portrait of the artist, but also a portrait of their attitude, philosophy and unique point of view.
We are presented with their intimate depictions of themselves, politics, religion, love, society, subcultures, and the artworld. The work portrays a shared impulse to narrate observations, through both positive interpretations and dissatisfied critiques. Coming from different backgrounds, cities, countries, and generations, the artists all are currently living in New York and questioning how their personal histories have influenced their lives and their work. While art making is generally insular, by working in the form of multiples (printmaking, comics, artists’ books and zines) their work, views of themselves, and perspectives are able to disseminate and courageously confront or ally with a wider audience.
To Preserve and Protect
March 16 – April 27, 2013
Elana Adler, Jon Bocksel, Candace Hicks, Jason Kachadourian & Adams Puryear
In an age of technological revolution, many trades, crafts, and once hand-worked skills are increasingly diminishing with advancing computer technology, as we have seen in the past with the industrial revolution and the advent of mechanical production.
To Preserve and Protect is a group exhibition featuring five artists who incorporate different time-honored trades and materials into their work, reviving these processes through contemporary art. This exhibition will feature ceramics and plaster works, sign-painting and hand-lettering, wood-whittling, concrete casting, needlepoint and embroidery. While these techniques can be replaced by more convenient mechanic methods these artists prefer to sustain the craftsmanship and the mastery of skilled-hand production.
Although these techniques are historically revered as trades and reserved for commercial purposes or crafts, the exhibiting artists are creating new potential incorporating these materials into painting, sculpture, and book arts, challenging their traditional execution.
January 26 – March 3, 2013
The Booklyn Art Gallery is pleased to present ODD VOLUME, an exhibition of artworks and the books they are inspired by.
Featuring art and personal libraries of:
Alex Kujawski, Andrew Bernero, Bill Abdale, Casey Farnum, Casey Tang, Chris Zirbes, Cosbe, Luke Allen, Lynnette Miranda, Megan Plunkett, Nick Wallin, Ryan Syrell, Sean Keenan & Jeff Eaton, Susan Belle, Zebadiah Keneally.
ODD VOLUME is an exhibition of artists’ work and selections from their personal libraries, focusing on printed matter as beacons of inspiration. The fusion of exhibition and public library is designed to interpret the artists’ creative approach by displaying editions essential to their practice, process, technique, and disposition. The artists offer selected volumes from their personal collections and encourage the audience to browse through their book contributions and develop connections with the artwork on view. This dialogue between process and product is generally invisible in a traditional exhibition.
The exhibition borrows its name from a social club, The Club of Odd Volumes, founded in Boston in 1887. This club was founded with the purpose to promote literary and artistic tastes, the exhibition of books, and social relations among its members. ODD VOLUME is a sequel to the exhibition Input/Output hosted by Booklyn in January 2012. Input/Output featured artwork alongside artists’ personal collections of amassed ephemera to illustrate the process of pulling inspiration from the world and transforming it into a unique language.
October 6 – November 18, 2012
Colette Fu, Maggie Lee, Marshall Weber, Matt Sidella, Maxim Ryazansky & Mike Spears
Weird World is an exhibition of artists’ books, photography and drawings exploring anthropological portraiture through an artistic lens, with an emphasis on the unseen, the occult, the weird, the wild, and the subversive. These artists present rare observational studies of various subcultures, ranging from punks and teenage ravers, members of the Westboro Baptist Church, to minority tribes of the Yunnan Province in China. These portraits provide an intimate yet omnipresent view of these seemingly exclusive unapproachable communities in their “natural habitats.” Reporting through an artist’s eye offers more than photojournalism, allowing their creativity to guide their observations, incorporate digital manipulation, and present their findings in unique sculptural formats.
Coinciding with this exhibition we are hosting open-call for the exhibition zine. The artists in exhibition will curate a selection of photographs, drawings and text to be published in a full-color publication alongside their own artwork, to be released at a closing party for the exhibition.
PATTERNS OF BEHAVIOR
June 16 – July 16, 2012
Sara Berks, Rob Corradetti, Patrick Costello, Anna Craycroft, Jonathan Ryan Storm, Hannah Waldron & Brian Willmont
The Booklyn Art Gallery is pleased to present Patterns of Behavior, a group exhibition exploring the artists’ use and redefinition of patterns and repetition; ultimately, creating dialogue on how these different approaches complement, conflict, and intertwine.
The exhibition will transcend multiple meanings assigned to defining “patterns.” Varied interpretations include the use of repetitive arrangement, habit, and routine; process as pattern and its use in producing multiples; and the thematic repetition of subject and imagery throughout a series of works.
Assigning multiple definitions to “pattern and repetition” helps discern the differences in the artist’s techniques and motivation, however their juxtaposition in this exhibition illuminates the aesthetic similarities created from different processes. Patterns of Behavior will feature drawings, paintings, prints and artist’s books. The works illustrate the shared impulse to pattern and repeat, while focusing on each artist’s personal mythologies and unique approach.
May 12 – June 11, 2012
The Booklyn Art Gallery is pleased to present a group exhibition of contemporary political satire by Heather Benjamin, Jack Laughner, Noah Lyon, Ian McGillivray, Fred Rinne & Marshall Weber, Haley Shibble and Ryan Jacob Smith.
In an age of riot and revolution the cynical observers’ growing dissatisfaction with the government and media manifests itself through many forms in everyday life. We see political satire and activism dispersed through various internet platforms, in print, on the streets, and even in mainstream media. Political satire is a necessary time-honored tradition that inherently abandons formality and censorship. USA Today explores a captivating slice of this fluctuating medium, showcasing sarcastic social commentary in contemporary art.
Comparatively using comedy and satire, the featured artists address a variety of national and international issues plaguing humanity. USA Today highlights the importance of humor in encouraging discourse and awareness. Their comedic approach combined with bold graphics, striking colors, skillful craftsmanship, and intricate line work make these disheartening issues impossible to ignore.
January 28 – February 26, 2012
The Booklyn Art Gallery is pleased to present INPUT OUTPUT, featuring artwork and personal collections of Alexander Heir, Jess Poplawski, Keith Pavia, Katie Plassche and Victor Giannini.
This exhibition focuses on five artists, their personal collections and the work it inspires. IO features artwork exhibited alongside a wide range of totems and amassed ephemera including but not limited to: photographs, bones, leaflets, masks, studded jackets, flags, action figures, instructional manuals, plants, and curio cabinets. Exhibiting objects from their space alongside finished artwork illustrates the process of pulling inspiration from the world and transforming it into a unique language.
Paralleling one’s artwork, personal collections convey insight into the artists’ process, aesthetic taste, memories, history and technique. Offering objects from their studios provide an intimate view unique to each artist in their workspace. The impulse to collect, arrange and display resembles and becomes the process of composing elements into a new work of art. The collections inform their art and create a dialogue between the input of source material and the resulting creation.
OUT OF PRINT
September 3 – October 11, 2011
Out of Print is a group exhibition featuring works by Casey Farnum, Dina Kelberman, Jason Roy and Mike Taylor.
Out of Print exhibits artists using print and self-publishing as a common starting point in creating and sharing their work. These artists create, compile content, edit, print and disseminate their own work as easily distributable and affordable editions. This exhibition’s mission provides the artists with the opportunity to work out of print and realize original works on a larger scale.
Using edition-able media as their point of departure, the artists have worked together to curate their own exhibition, editing and displaying their work on a more multi-dimensional scale than self-publishing. In addition to featuring new methods of incorporating print and book arts, the show also includes drawings, paintings, collage, and sculpture.
July 9 – August, 7, 2011.
The Booklyn Art Gallery is pleased to present Hunter/Gatherer, featuring works by Evan Robarts, Jason Kachadourian, Jessica Williams, Jon Bocksel and Scott Meyers.
Hunter/Gatherer includes artists with the common practice of borrowing both aesthetic inspirations and found objects from their local surroundings. These artists accumulate visual, physical, and conceptual source material from everyday encounters and observations. They manipulate materials and appropriate techniques from discarded objects, sign-painting and murals, printed ephemera, and urban architecture. While each artist has their own unique approach to collecting and manipulating, their work evokes similar appreciations for the found and overlooked. With their work combined, Hunter/Gatherer creates a personal map of the city they share and the scenery they encounter. The viewer is confronted by these recognizable, yet often ignored images and encouraged to take a second look when walking down the street.
Jason Kachadourian borrows imagery from his surroundings, primarily the architecture and facades of apartment buildings in his neighborhood. His use of printmaking (silkscreen), mimics the repetitiveness of the urban architecture, blocks of brownstones, row-houses, and other cookie-cutter neighborhoods. His recent work begins to borrow not only the aesthetics from these buildings, but also the material, incorporating concrete and wood into his structures.
While borrowing techniques from various sources, some of Jon Bocksel’s influences include sign painting, hand-lettering and civilian graffiti. His large scale works on hand-dyed canvas evoke weathered signs and awnings. His paintings create a new suggestive and symbolic language, often working subtle politically conscious and comedic elements into the representations of the scenery he encounters.
Scott Meyers’ process starts by collecting imagery and reworking it through multiple mediums. He incorporates various styles of printed ephemera, replicating these mechanical processes by hand and translating their original form through new materials. His installations, composed of paintings, collages, and cut-out forms create an interwoven network of symbols.
Evan Robarts acquires materials for his sculptural work both by consciously hunting for an appropriate objects and frequently through chance encounters with discarded items found in his neighborhood. With no preconceptions, his work will evolve from the discovery of a unique object allowing its own personal history to come through.
Jessica Williams’ work, comprised of drawings, collage, photography and books, map imagery from her immediate surroundings creating a visual diary with an unfolding narrative. Inspired by chance compositions found on her travels, her work not only recaptures her observations but also reveals her personal relationship to these places and objects.
MASTER OF REALITY
June 3 – July 3, 2011
The Booklyn Art Gallery is pleased to present MASTER OF REALITY, a group exhibition featuring works by Milano Chow, Cynthia Daignault, Gary Kachadourian, and STO.
MASTER OF REALITY includes drawings, paintings, sculpture and prints that alter our perceptions of commonplace scenery, find fodder in the mundane, and draw our attention to the handling rather than the objects themselves. The featured artists create an alternate dimension of familiar objects, carefully mimicking reality so that it is recognizable, yet altering it enough to uniquely capture their own way of seeing.
Each artist has mastered their own language of perception, in turn manipulating the viewers’ aesthetic preconceptions of objects and environments. Familiar surroundings and everyday items become broken down into colors, values, shapes, lines, textures and forms. These artworks give the viewer the rare opportunity to explore the relationship between seeing and rendering reality.
MASTER OF REALITY is the first in a series of group exhibitions dedicated to providing self-publishing artists, who generally share their work through zines and other printed matter, with a platform for exhibition, experimentation and exploration outside of the printed format. Curated by Aimee Lusty.