Join us for Brunch with the artist, Jesse Lambert - Sunday, December 4th at 2PM.
Jesse Lambert’s ink and watercolor paintings on paper depict ad-hoc structures constructed out of scraps of wood and debris such as bent nails, string, cloth, clothespins, discarded tools and other household implements. Evoking the universal human desire for shelter and protection, these assemblages reference domestic spaces, but fail to function as those spaces normally would. Whether it’s through the dispersion and fragmentation of objects and materials in the small “School Days” drawings or through the decay of structures in the larger paintings, the work shows the accumulated effects of time on objects and our environment.
Lambert’s use of color washes and highly pigmented grounds with muted hues create a harmony of and rhythm that competes for the visual space of each piece. Within this optical tension ones eye moves from the foreground to the back as if objects are suspended in a thick soup of color. In “Sink” a ramshackle edifice is erected on the trunks of of three small trees. Wooden mounts support a bathroom sink. One of the faucets has fallen onto another crude shelf, and to the other side of the sink four nails support toothbrushes. The nails securing the pieces are all bent and crooked and the boards are tied together with rope, mimicking the shapes of the natural elements in the trees. Butterflies float and rest on the boards, shelf, sink and ropes. This whole tableau seems to have been abandoned, and retaken by nature.
This feeling of deterioration is emblematic of the slow decline of memory. At the same time, the constructions become a metaphor for how we assemble fragments of the past into some kind of understandable form and how that undertaking is an ongoing process of constant revision. They reflect the generative and reconstructive action of memory. The absence of an active subject building the environment suggests that this could be an unconscious activity, as if memory is working against the impersonal processes of deterioration.
Jesse Lambert received a BFA from Cooper Union and a MFA in Painting from Hunter College. He attended the Skowhegan School of Painting and Sculpture. He has attended residencies at the Vermont Studio School in Johnson, Vermont and the Armenian Center for Contemporary Experimental Art in Yerevan, Armenia. Jesse's exhibitions have been reviewed onHyperallergic.com, artnet.com, in the The New York Times, The Boston Globe, The Brooklyn Rail, The Yale Daily News and The Aravot Daily, Yerevan, Armenia. He was featured in New American Paintings #32.
The Front Room Presents
The 4rd Quadrennial:
The Ballot Show
October 14th-23th, 2016
Opening Reception: Friday Oct 14th 7-9
Viewing hours: Fri-Sun 1-6 and by appointment
The Front Room Gallery is proud to present the Fourth quadrennial "Ballot Show", which focuses on the American electoral system, and the overall notion of voting with a ballot. "The Ballot Show," held every 4 years since 2004, is inspired by the American election, and contemplates our antiquated electoral-college voting process.
The impetus for the first "Ballot Show" was disillusionment with the shoddy way the 2000 election had been handled”hanging chads, votes not counted, people not allowed into the polls, the Supreme Court decision. Many artist's works in the following two versions of the exhibition (in 2008 and in 2012) dealt with the archaic nature of our electoral process, but also with the feeling that we as a people aren't happy with the choices that we are offered. This year we are faced with an election with the two least popular candidates ever, and it seems both side's votes are driven by hatred of the other sides contender. This election is a turbocharged reality show fueled by accusations and innuendo live on 24 hour social media. It's possible the only actual fact we will see in this whole campaign is that one person will be elected in November.
Featuring works by: Daniel Aycock, Julia Whitney Barnes, Tyra Bombetto, Richard Borge, Thomas Broadbent, Phil Buehler, Ken Butler, Ethan Crenson, Dave Cole, Linda Ganjian, Hubert Dobler, Robert Egert, Patricia Fabricant, Peter Fox, Enrico Gomez, Sean Hemmerle, Kim Holleman, David Kramer, Jesse Lambert, Lisa Levy, Stephen Mallon, Sascha Mallon, Karen Marston, Mark Masyga/Christopher Johnson, Kelly Parr, Ross Racine, Marshall Reese/Nora Ligorano, Hector Rene, Daniel Rosenbaum, Emily Roz, Sante Scardillo, Philip Simmons, Jeremy Slater, Mark Stilwell, Miho Suzuki, Jim Torok, Kathleen Vance, Cibele Vieria, Monika Wuhrer, Guy Ben-Ari, Ahron Weiner and more!!
“Summer Sampler, A Front Room Favorite”
June 10th – August 7th
Opening Reception Friday, June 10th 7-9PM
Amanda Alic, Nancy Baker, Sasha Bezzubov and Jessica Sucher, Thomas Broadbent, Phillip Buehler, Peter Fox, Sean Hemmerle, Amy Hill, Jesse Lambert, Sascha Mallon, Stephen Mallon, Mark Masyga, Walker Pickering, Melissa Pokorny, Paul Raphaelson, Ross Racine, Ken Ragsdale, Emily Roz, Patricia Smith, Mark Stilwell, Joanne Ungar, Julia Whitney Barnes and Edie Winograde.
"Summer Sampler" offers a selection of works previewing upcoming exhibitions and a review of past exhibitions, with a fresh look at artists' new works. This is a view of Front Room’s favorites and fun way to kick off the Summer.
Amanda Alic's series "Off Season" portrays abandoned play areas, racetracks, mini-golf courses and resorts. All are immediately strange. Referencing the romanticization of ruins, these images convey exquisite yet eerie locations imbued with memories of pleasure and activity. They reflect the desperate drive to satisfy ourselves by filling our lives with external stimulus.
Nancy Baker creates detailed paper constructions by combining hand and laser cut geometric forms based loosely on machine components, which has begun to evolve into a jewel-laden structure. Baker Incorporates glitter, fluorescent paint, modeling paste, gold leaf, printed commercial matter, and additional substances into the pieces, which activate a sense of depth and materiality.
Sasha Bezzubov and Jessica Sucher
Sasha Bezzubov and Jessica Sucher have been collaborating since 2002. Their work merges their shared interests in the politics of tourism and pilgrimage, and has led them to Mexico, Nicaragua, Costa Rica, Cambodia and Thailand. In 2006, they spent a year photographing in India for their project "The Searchers".
Thomas Broadbent creates highly detailed watercolor still lives featuring finches, chickadees, ravens and other birds rendered sensitively with a naturalist's eye for detail often in conjunction with objects such as stacks of books, Modernist furniture, and ladders. These objects could possibly be looked at as stand-ins for society in an ambiguous relationship with nature that is absurd—and yet peculiarly comfortable. More recently, his work has included asteroid “portraits” as they travel through space.
Phillip Buehler has been photographing abandoned places around the world since he rowed to the (then abandoned) Ellis Island in 1974. Many, like Greystone Park Hospital, have since been demolished; some, like Ellis Island and the High Line, have been restored, and some, like the S.S. United States and the New York State Pavilion, are now in jeopardy. Photographs from the (now demolished) Greystone Park Hospital are featured in this exhibition and in the book "Wardy Forty" which he wrote in 2013 about the last days of Woody Guthrie.
Expanding on his signature style of drip painting, Peter Fox's spilled paint works have taken on bold gestural movements. Referencing formal systems of Abstract Painting, Fox explores the language of relational color, as articulated through layered processes. His compositions are developed through variance and repetition, and evolve with the allowance of chance.
In Sean Hemmerle's poignant photographic series "Rust Belt" (shown at Front Room in 2013) which features theaters, banks, factories, and abandoned houses, the architecture is metaphoric of societal issues that have evolved over decades. Hemmerle has chosen to juxtapose a photograph from this series with photos that he has taken in Beirut and Iraq.
Hill composes contemporary scenes inspired by pious gestures and devout expressions of Fifteenth century Flemish altarpieces and portraits. Using a traditional oil glazing technique, her paintings reveal the individuality of her subjects through style of dress and ornamentation.
Jesse Lambert's abstracted optical grounds are built of color washes that integrate linear fragmented figurations in dreamlike environments.
Sascha Mallon's multifaceted pen and ink drawings, infused with surrealist-influenced narrative, are populated with creatures that are like the unseen within the obvious: animals, half-humans, imaginary hybrid beings in a constant state of change. Her work creates a surreal world of intricate narratives, an interior space from which her multifaceted characters transgress into the exterior.
Stephen Mallon has gained international attention for his project "American Reclamation" which includes the series "Next Stop Atlantic" focusing on decommissioned NYC subway cars that were reefed in the Atlantic Ocean, as well as "Brace For Impact, The Aftermath of Flight 1549" famously known as the "Miracle on the Hudson" in which Captain "Sully" Sullenberger safely landed and airbus in the Hudson river saving the lives of all the crew and passengers of the plane. His series "American Reclamation" contains ruined vehicles, subway cars, Navy destroyers, that are becoming a part of the recycling process.
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.
Walker Pickering’s work employs documentary aesthetics, and uses photography as a means to get access to people and places that might otherwise be inaccessible. Through the lens of travel and adventure, he seeks out the hidden among the ordinary. Pickering's work captures the mundane trappings of travel, rest stops and unexpected roadside encounters.
Artist Melissa Pokorny features photo and sculpture-based assemblages that range from small, singular wall mounted works to large-scale floor pieces comprised of multiple elements. Re-imagined common objects, ordinary materials used in unexpected ways, saturated colors, and textural extremes are a hallmark of her work.
Ross Racine depicts realistic aerial views of fictional suburban communities, which amplify an awareness of modern choices in building and living styles. Racine employs common structural archetypes in his compositions, with an expanded view that exaggerates the rational utility of these imagined infrastructures.
Ken Ragsdale creates magical photographs achieved through his composition of fabricated paper structures, which depict memories and landscapes of middle to northwest 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.
Paul Raphaelson's photographs of the Domino Sugar Factory in Williamsburg, Brooklyn document a topic of continuing controversy. It was once the biggest sugar refinery in the world. Originally a complex, now just one historically landmarked building still stands on the Brooklyn waterfront. On it's way to becoming high-rise condos it might well be the best symbol of the climate in Brooklyn today.
In her series "Ripe", Emily Roz references seedpods of a specific Southern Magnolia tree from the artist's youth in Chapel Hill, these lush, tactile paintings exude the sexuality of the reproduction system of the Magnolia grandiflora. Roz's depiction of these intimate parts of the pods is done at a larger scale, which arouses one's desire for closer inspection.
Known for her idiosyncratic cartographic explorations of the psyche and mental states, Smith incorporates new outer and inner geographical regions in her latest works. The finished works are delicate, highly detailed paintings on paper incorporating images and texts rendered in ink, pencil, watercolor, rubber-stamping and collage.
Mark Stilwell uses painted and reclaimed packaging, byproducts of the over-consuming society he portrays, in this scene of terror. Crowds of paper cut-out citizens run screaming from the devastation and hostile creatures that are overtaking the city.
Joanne Ungar’s use of wax obscures and mystifies the origin of the materials she has embedded. 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.
Julia Whitney Barnes
Julia Whitney Barnes, a New York based artist known for her vivid, luminous paintings which cull naturalistic imagery from an abstracted ground as well as her nature infused ceramic works, presents a series of painted porcelain vignettes. Ecological practices and the complex relationships between humanity and the environment influence Julia Whitney Barnes’ philosophy and artistic practice.
Edie Winograde photographs extravagantly theatrical staged pageants of historical/legendary events surrounding Manifest Destiny and Westward Expansion, presented in the original locales. Her work invokes the cultural memory as it has been colored by Western films, paintings, and television shows, thus representing a unique window into the American psyche, combining historical facts, myths, and legends with dramatic devices to entertain and educate the local audiences.
Please join us on Sunday June 5th at 2pm for a Closing Brunch with the artist, Amy Hill to celebrate the final weekend of her exhibition: "Young and Innocent." We will be serving speciality cocktails and bites to eat, be sure not to miss the final day of this excellent exhibition! Click here for the link to the Facebook event.
Amy Hill's inspiration for her most recent body of work is American Folk Art, which served as a reflection of the artists' impressions of society, its needs and mores. A common subject was family, and more specifically, children, often depicted with a focus on their innocence, holding cuddly animals in bucolic settings.
In updating these paintings, Hill has depicted urban children decorated by logos, tattoos, piercings, drugs and digital media. This allows for an examination of the phenomenon of innocence, its value, and the possibility of its survival in a fast moving world. With technical proficiency, Hill explores the charm and directness of Folk Art by employing the era's distortions of perspective and anatomy, as well as a highly personal perspective.
This new series of paintings continues Hill's examination of earlier eras in art history. The eras are chosen for her stylistic kinship with their respective artists, allowing her to carry on a dialogue with them. Hill revives the styles and makes them her own by exploring themes that can be traced to the present day. Through portraiture, a genre that runs throughout art history, Hill utilizes a variety of poses, gestures, fashion and accouterments to make social, psychological and anthropological statements. Humor emerges through the juxtaposition of modern day fashion and historical figures.
Amy Hill received her BFA from Carnegie Mellon University and studied at New York University. She has received grants from the Peter S. Reed Foundation and Art Matters and a studio grant from the Elizabeth Foundation. Hill received nominations for the Catherine Doctorow Prize for Contemporary Painting and membership in the American Academy of Arts and Letters. She received a Purchase Award from West Publishing Company, the Juror Award for the 2006 NYU Small Works Show and an Honorable Mention from the National Arts Club. She has attended residencies at Byrdcliffe in Woodstock, NY, The Virginia Center For the Creative Arts in Sweet Briar, Virginia, and Cummington Community of Artists in Massachusetts. She has exhibited extensively nationally and internationally. Her work has been reviewed in The New York Times, Harper's Magazine, Artnet Magazine, Artinfo.com, and Cover Magazine, as well as other national and international publications. She currently lives and works in New York.
Opening Reception: Friday, April 22nd, 7-9 pm
ArtCosmos is dedicated to collaboration between artists, academics, and thought leaders at the intersection of Science and Contemporary Art. The exhibition features a group of multidisciplinary artists creating new visual dialogues for humanity’s unwavering quest to explore deep space.
The 2nd ArtCosmos Brings Together Artists & Scientists in honor of the 55th anniversary of the first manned flight into space by Yuri Gagarin. It opens at Salomon Arts Gallery in Tribeca, New York City on Friday, April 22nd and runs through May 14th, 2016.
Featuring international artists:
ArtCosmos is an official event partner of Russian American History Month in New York State. ArtCosmos is jointly presented by Russian Art Pavilion and Salomon Arts Gallery and will run concurrently to Frieze Art Week.
Salomon Arts Gallery
83 Leonard St.,
New York, NY, 10013
“Young and Innocent”
April 15th – May 22ndOpening Reception: Friday, April 15th, 7 – 9 pm
Front Room Gallery is proud to present a solo exhibition of new paintings by the artist Amy Hill entitled “Young and Innocent.”
Amy Hill’s inspiration for her most recent body of work is American Folk Portraiture, which historically served as reflections of the artists’ impressions of society, their needs, mores and family life. A common subject within American Folk Art is family, and more specifically, children, who are often depicted with a focus on their innocence, holding cuddly animals in bucolic settings.
In updating these paintings, Amy Hill has depicted urban children decorated by logos, tattoos, piercings, drugs and digital media. This allows for an examination of the phenomenon of innocence, its value, and the possibility of its survival in a fast moving world. With technical proficiency, Amy Hill explores the charm and directness of Folk Art by employing the style’s distortions in perspective and anatomy, as well as a highly personal perspective.
This new series of paintings continues Amy Hill’s examination of stylistic references from earlier eras. The eras are chosen for their stylistic kinship with their respective artists, allowing her to carry on a dialogue with the past. Hill revives the styles and makes them her own by exploring themes that can be traced to the present day. Through portraiture, a genre that runs throughout art history, Hill utilizes a variety of poses, gestures, fashion and accouterments to make social, psychological and anthropological statements. Humor emerges through the juxtaposition of modern day fashion and historical figures, as you can see in the works that are included in the exhibition.
Amy Hill is a New York based artist who received her BFA from Carnegie Mellon University and studied at New York University. She has received numerous awards and grants including the Peter S. Reed Foundation grant, a grant from Art Matters, studio grant from the Elizabeth Foundation. Hill received a nomination for for the Catherine Doctorow Prize for Contemporary Painting and a membership in the American Academy of Arts and Letters. She received the Purchase Award from West Publishing Company, the Juror Award at the NYU Small Works Show and Honorable Mention from National Arts Club. Amy Hill has exhibited extensively in New York and Internationally. Her work has been reviewed in The New York Times, Harper’s Magazine, Artnet Magazine, Artinfo.com, and Cover Magazine, as well as many other national and international publications. She currently lives and works in New York.
For inquiries, please contact Front Room Gallery: firstname.lastname@example.org, 718-782-2556
Join us on April 10th at 3pm for a closing brunch for Melissa Pokorny's (ways of) show!
The show features fifteen new works by artist Melissa Pokorny. These photo and sculpture-based assemblages range from small, singular wall mounted works to large-scale floor pieces comprised of multiple elements. Re-imagined common objects, ordinary materials used in unexpected ways, saturated colors, and textural extremes are a hallmark of her work.
Pokorny's constructed systems and collective actions suggest something akin to speculative biomes, or psychological landscapes. Individual works are re-collections of moments: lived, imagined, and borrowed. They are experientially derived, suggesting layered relationships based on memories of place, material affinities, (un) natural phenomena, and the desires of things.
We hope to see you there!
Click here to be directed to the Facebook event