Ken Ragsldale: "The Hundred Acre Wood" Closing Brunch and Artist Talk

Join us this Sunday at 4PM for an artist talk with Ken Ragsdale in conjunction with his exhibition: "The Hundred Acre Wood. We will be serving brunch at 2PM. This is the final day of viewing for the exhibition.

Ken Ragsdale: The Hundred - Acre Wood

On view through April 12th

Artist Talk Sunday, April 12th 4PM

Front Room Gallery is proud to present “The Hundred-Acre Wood” a solo exhibition of photographs by Ken Ragsdale. These magical photographs as are achieved through the artist’s composition of fabricated paper structures, which depict memories and landscapes of middle to north-west United States.

Ragsdale’s process begins with rough sketches of places and things from his past that are relevant to current themes he is considering. This exhibition focuses on a time period of 1974-78, in the regions of Northern Idaho, to Eastern Oregon and the areas between. As his working drawings solidify the dimensions of the objects which represent his memories from that era, Ragsdale considers the landscape, terrain and weather, filtered through his personal memories and experiences.

Ken Ragsdale: The Hundred - Acre Wood

Ken Ragsdale: The Hundred - Acre Wood 
March 20th - April 12th 

Front Room Gallery is proud to present “The Hundred-Acre Wood” a solo exhibition of photographs by Ken Ragsdale. These magical photographs as are achieved through the artist’s composition of fabricated paper structures, which depict memories and landscapes of middle to north-west United States. 

 Ragsdale’s process begins with rough sketches of places and things from his past that are relevant to current themes he is considering. This exhibition focuses on a time period of 1974-78, in the regions of Northern Idaho, to Eastern Oregon and the areas between. As his working drawings solidify the dimensions of the objects which represent his memories from that era, Ragsdale considers the landscape, terrain and weather, filtered through his personal memories and experiences. 

“My father took a job as shop foreman on a ranch of a few thousand acres, on which (among other things) were grown … 800 acres of potatoes and 1,500 acres of grain. The ranch itself filled a very flat river valley with its north edge being the Canadian border. On either side, the mountains rose like two walls thousands of feet high, compressing the space between. The house we lived in for the majority of that time was just above the flat of the fields and close by the main north-south road leading to Canada. The nearest town was nearly 30 miles to the south, and where I went to school. The weather was extreme, especially in the winter, and any snow that fell in November was sure to be there at the bottom of the thaw when April arrived. The forests in the mountains around us were heavily logged and along with the farms in the valley provided most of the jobs available in the county. It was a rare occurrence to find a classmate whose family did not own a tractor or a chainsaw, or both, or several of each.” -Ken Ragsdale 

These types of recollections inform Ragsdale’s works and help to identify the key components of each work. Once the composition and components are determined as to capture the aura of a memory, schematic drawings are documented and prepared for hand assembly. Laboriously the schematics are cut out, folded and tabbed to create their final 3-dimensional formats. As each object is placed and the structures oriented, Ragsdale modifies the scenes to perfectly frame each scenario for the final photograph. From simple sheets of white Bristol Vellum, the atmosphere and lighting brings each image to life and allows for a reminiscent view of a wistful past.

Mark Masyga "Lost Horizon" Exhibition Opens Friday, February 20th

Mark Masyga: Lost Horizon
February 20th - March 15th
Opening Reception: Friday February 20th, 7-9pm  

Front Room Gallery is proud to present "Lost Horizon" a solo exhibition of new works by the artist, Mark Masyga. Featuring painting and sculpture, Masyga's compositions have lively linear elements balanced with a sensitive, yet intense sense of color. Mark Masyga uses line to enhance both specificity and ambiguity, creating a sense of mystery.

 Created concurrently with the paintings are constructions made with wood, plaster, Structolite and other materials. Masyga's sculptural works amplify and resonate with the paintings, activating a nuanced experience, as seen independently and in tandum with his two-dimensional works. These pieces evoke landscape and exhibit architectural traits in a different way than the paintings do, while maintaining a high degree of specificity. The Folly of Fragonard is the second in a series of larger-scale sculptural works. The work on display is a re-imagination of Fonthill Abbey, the infamous Gothic revival English country house built (and ultimately collapsed under its own weight) under the hasty direction of William Thomas Beckford, circa 1813.

Building from concepts in previous works, which refer to imagery of construction sites, ruins or natural disasters, Masyga is now minimizing his use representational references. These new works focus on Masyga's development of his visual vocabulary, utilizing mark-making, forms, and style as indicators which infer rather than direct to these references. Building from the core concepts stemming from the origin of 'utopia', Masyga's recent works hint at locale and structure, but rely on the integrity of the forms, linework and palette in an insulated manner. There is a playfulness in the search and discovery within Mark Masyga's recent body of work which is challenging and engaging.

"901 - Miles From Normal" Exhibition Opens Thursday, February 12th


George Barecca, Sam Buchanan, Lexie Bragg, Megan Coonelly, CJ Davis, Emma Farber, Chris Hagen, m. jo hart, Gina Hunt, Venise Keys, Jeremy Lampe, Laura Newman, Krista G Profitt, Stoney Sasser, Dylan Welch, Micah Zavacky

February 12th - 15th, 2015
Opening Reception: Thursday, February 12th, 7-9pm
Viewing hours: Fri-Sun 1-6 and by appointment

“901 - MILES FROM NORMAL” features a selection of works by promising MFA students from Illinois State University’s School of Art. 901 is the number of miles between New York City and Normal, Illinois, where the University is located. Included are distinctive works from the realms of painting, installation, photography, ceramics, glass and prints.  This exhibition marks the first time the artists have exhibited in NYC and it offers them a chance to receive critical response to their artwork.

George Barreca draws with slabs of clay that are spontaneously cut and attached to construct functional pots. This direct way of working and his application of loosely brushed, lush colors allow for improvisation and captures a sense of immediacy.

Capturing elaborately staged narratives, Lexie Bragg examines the in-between moments of our lives; how our stories happen even when we aren’t ready, and the human need for reason and story telling.

Sam Buchanan’s manipulated paper wall pieces explore the dynamics of neglect and repair, harm and amendment. This exploration manifests in several ways: as woven sheets of previously cut and sagging paper; as stoppers in a broken surface; as padded and stuffed paper.

Relying on childhood images as means for a self-portraiture, Megan Coonelly recalls the awkwardness of childhood and adolescence.  Through her manipulation of paint, the desire to form an identity becomes warped and unidentifiable.

Continuing a long-standing interest in labor and its various levels of intersectionality, CJ Davis' photographs investigate the role of women's employment in the service and care industries. Through the lens of gender, she is looking to create images that explore the feminized nature of these fields while giving voice to the diversity of real-world worker experiences.

Emma Farber's approach to contemporary abstraction involves passages culled from autobiographical moments captured in acrylic and oil paint. Her ideas include shifts in visual and mental perception and space as it exists in regard to mood/human emotion.

Chris Hagen's prints and experimental books act upon a range of communal expectations to explore how we take the world in, how we share it with others, how we try to hold on to fleeting aspects of it, and how we reconsider them in hindsight.

m. jo hart creates female figures out of clay which depict ordinary moments that occur throughout the day.  Her objective is to translate the mundane moments of everyday life into quiet, thought-provoking work.

An obsessive fascination with impermanent phenomena is manifest materially in Gina Hunt’s paintings that explore color and light with sprayed paint on cut canvas. Hunt offers simultaneous experiences based in interwoven patterns and color.

Each of Venise Keys’s paintings is more determined than the last to capture the emotion of the black female experience and challenge how abstraction can communicate blackness. Her paintings do not contain power fists, Afros, or black bodies but they are about all of those things.

Jeremy Lampe's glass sculptures are dynamic animated works that reference movement and dichotomies between people and their surroundings. He wants to reveal evidence that the works were soft and malleable before the annealing process as a way of showcasing the unique characteristics of glass.

By combining steel and raw, cracked, fired clay, Laura Newman makes abstract sculptures that draw conceptual focus from the ways these materials work together to create forms that are both strong and fragile. This contrast can be related to many things in our modern society, ranging from the construction and eventual decline of cities, to expectations of gender roles.

The relationships that people form, whether new or long standing, are the focus of Krista G Profitt’s oil on canvas paintings. Those relationships are played out within the act of painting, which becomes a narrative of her personal connection to the canvas.

Stoney Sasser builds playful, surreal and celebratory installations, which mimic biological forms commonly manifested through the material spinoffs of human commerce and production. She uses materials like fabric, foam, yarn, plaster, acrylic and caulk to invite you into her imaginative world of theatrics and intrigue.

Is it possible for a distinct material object to simultaneously have more than one kind of physical identity? With a collection of surrealist meditations on time and space, Oakland artist Dylan Welch contemplates this question and in the process creates her own science of whimsy.

Through direct observation and memory, Micah Zavacky creates prints that refer to the landscape. He uses the landscape as a foundation for his perceptual exploration of his subject matter, and his response to an image as it develops.

The Front Room Gallery is located at 147 Roebling Street in Williamsburg Brooklyn. Gallery hours are Friday-Sunday 1-6 PM and by appointment. Press contact: Daniel Aycock 718-782-2556

Ross Racine Featured in 50/50: NEW PRINTS 2015/WINTER at International Print Center New York

50/50: New Prints 2015/WinterOPENING RECEPTION: Thursday, January 22, 2015; 6-8pm
ON VIEW: January 15 - March 14, 2015
508 West 26th St. Room 5A, New York, NY 10001

International Print Center New York (IPCNY) presents 50/50: New Prints 2015/Winter an exhibition featuring forty-five prints by thirty-four artists selected by a committee of print specialists from over 2,000 submissions. Opening IPCNY's 15th Anniversary year, 50/50: New Prints 2015/Winter is the fiftieth in this unique exhibition series. With all prints required to have been made within the past year, these shows bring to the fore new trends, talents and techniques as they emerge in the field of contemporary printmaking. Many mediums of printmaking are represented, including etching, lithography, silkscreen, and relief.

50/50: New Prints 2015/ Winter will be on view from January 15 through March 14, 2015.

The jury for 50/50: New Prints 2015/Winter was as follows: Joseph Goddu (Art Advisor and Dealer, American Art), Jodi Hauptman (Senior Curator, Department of Drawings and Prints, The Museum of Modern Art), Jane Kent (Artist and Professor), Andrew Mockler (Master Printer, Jungle Press Editions), Carrie Pollack (Artist, Educator, Avenues The World School), Marc Schwartz (Collector).

50 prints by: Golnar Adili, David Altmejd, Steven Arnerich, Ann Aspinwall, Evan Bellantone, Håkan Berg, Mary Lynn Blasutta, Ken Buhler, Deb Chaney, Phillip Chen, Marianne Dages, Thorsten Dennerline, Kevin Frances, Robert Howsare, Travis Janssen, Anita Jung, Hye Lee, Ting Liu, Matt Magee, Jennifer Marshall, Monique Martin, Janis Murovskis, Leslie Mutchler, Elvia Perrin, Chiara Principe, Ross Racine, Szilvia Revesz, Kate Shepherd, John-Mark Schlink, Jelena Sredanovic, Rob Swainston, Eszter Sziksz, Jason Urban, Mark Williams, and Hank Willis.

Image: Ross Racine, A New Day, 2014, digital drawing (inkjet on paper). Courtesy of the Front Room Gallery, New York.

Stephen Mallon's series "Next Stop Atlantic" recently featured on Gizmodo:

"The Spectacular Sight of Subway Cars Being Dumped Into the Ocean" by Michael Hession
Click here to read article:


Kim Holleman | Joanne Ungar Opening January 9th


Kim Holleman | Joanne Ungar 

January 9th - February 8th

Opening Reception: January 9th 7-9PM

Front Room Gallery is proud to present: “Consumed” an exhibition of new works by artists: Kim Holleman and Joanne Ungar.  Each artist’s solo presentation opens a dialog about material matters, consumption and waste.   Objects are suspended and redefined by the artists’ divergent processes.  While Ungar utilizes the organic wax and recycled cardboard, Holleman conflates the synthetic and natural, with petrochemicals fusing collected materials.

Kim Holleman composes and assembles with found objects collected from the urban environment.  For this exhibition she has created a room-sized installation incorporating broken auto glass; poured resin returns the shards of glass to a solid state, transfixing the incident in time. The experience of the artist’s initial discovery of the objects is captured and re-related by Holleman’s references to a landscape, which is simultaneously in and out of balance with nature.

Holleman’s works elucidate the problematic choices we make as a society as well as the beautiful moments as we evolve and grapple with becoming a sustainable society.  Outmoded chemistry vessels are repurposed, culling back to a time of ethical chemical manipulations.  Holleman cultivates ecosystems of imagined origins, and creates landscapes which emerge from petrochemicals and trash.

While Holleman’s use of resin gives a clarity to the objects she has collected, Joanne Ungar’s use of wax obscures and mystifies the origin of the materials she has embedded.  Joanne Ungar reprocesses cardboard packaging; the corrugated lines and smooth surfaces are enhanced, transforming the byproduct of consumerism into a completely new entity.  Color and opacity plays a large role in Ungar’s process, in which she holds a tenuous control over the outcome of each poured layer of molten wax.

Joanne Ungar achieves a heightened visual depth through her choice of pigmentation and the level of translucence within each strata of wax.   Ungar examines the physical and ideological concept of packaging, considering the value of the stuff we cast off, misleading facades and the pervasiveness of materialism in our culture.

Ungar and Holleman exemplify their personal philosophies through the use of found objects  - frozen in composed display, heightening visual qualities of the inherent body of the materials, consumed by resin in the case of Holleman and wax for Ungar.