Summer Love
















July 2 – August 24, 2014
Opening reception: Wednesday, July 2, 6:00–9:00pm
Closing brunch: Sunday, August 24, 3:00–6:00pm


Amanda Alic + Ethan Crenson
Rachel Feinstein + John Currin
Jolynn Krystosek + Halsey Hathaway
Katherine Newbegin + Todd Knopke
Alexandra Posen + Nils Folke Anderson
Sascha Mallon + Stephen Mallon
Jessica Sucher + Sasha Bezzubov
Kathleen Vance + Daniel Aycock
Cibele Vieira + Peter Fox
Ursula Weissmüller + Robert Ortega
Julia Whitney Barnes + Sean Hemmerle


Front Room gallery is proud to present: “Summer Love” a group show curated by Julia Whitney Barnes celebrating artists’ love in tandem with her recent nuptials with Sean Hemmerle. As part of their wedding celebration, artist Julia Whitney Barnes selected eleven married artist couples, each of whom have a personal connection to the newlyweds. The concept for the show developed while Julia was going over their wedding invite list and noticed how many artist couples were included. Several of the artists work collaboratively, and without question, each couple is influenced by each other's work. About half the artists are Front Room regulars and for the other half, this will mark their first show with the gallery.

Whitney Barnes structured the selection of artworks by directing each spouse to choose which piece would represent their partner in the exhibition, or the artists selected collaborative work. This process mimics the couples selecting each other to marry, with the artworks exhibited in pairs.


ABOUT THE WORK:

Amanda Alic and Ethan Crenson collaborated on the video "People in Trees." Very much as the title implies, single figures appear high in a tree in a snowy, quiet, otherwise depopulated landscape. It is ambiguous and meditative. With David Ramirez, John Keefe, Edie Winograde and Matthew Crenson.

World-renowned artist couple, Rachel Feinstein and John Currincollaborated on a graphite drawing of two topless women wearing glasses, based on vintage porn images. The more buxom figure is looking at nude photographs on the floor and the skinnier figure is grasping open a book on top of a stack of other books.  In making these works, Rachel draws the playful contours and John elaborates with refined shading.


Jolynn Krystosek's wall mounted gray felt sculpture creates a space of both shallow and infinite depth. The felt works inspire a variety of aesthetic references including hoods, bonnets, or habits and are suggestive of feminine anatomy. Halsey Hathaway’s tall acrylic on dyed canvas painting is imbued with translucent overlapping fields of color. The accumulated forms build up to a space that can be seen both as figure and as void, intentionally allowing the work to change with each viewer’s own subjectivity.

Katherine Newbegin's Chromogenic print of a Mosque in Mumbai is from her solo travels in India during 2010 and 2011. Though Todd initially aimed to select one of Katherine's works from their frequent mutual travels, his love of this charged yet tranquil space won out. Todd Knopke's wall mounted fabric work combines the traditions of American quilting and European tapestry making, mixed with contemporary ideas of collage, painting, and sculpture. The work uses repurposed fabric including his friends and family's clothes, sheets and towels and is reminiscent of a sunny figure emerging from water with mountains in the background.

Alexandra Posen's "Soft Paintings," call on a unique language of abstraction that engages color, transparency, shadow and ephemerality to project imaginary spaces. They are created from translucent painted silk, stretched over wooden bars. Nils Folke Anderson's painted Aquaresin sculpture looks like bent wood on first glance. His sensuous work hovers in the enigmatic territory between abstraction and evocation

Sascha (Prinz zu Schaumburg-Lippe) Mallon's multifaceted drawing, infused with surrealist-influenced narrative, is populated with creatures that are like the unseen within the obvious: animals, half-humans, imaginary hybrid beings in a constant state of change. Stephen Mallon's Chromogenic print "New Grass" was shot on the Coast of Ireland on the day he proposed to Sascha in 2005. It is part of his series about vacation places out of season.

Jessica Sucher and Sasha Bezzubov's collaborative black and white silver gelatin prints are of untended olive trees, found throughout the Palestinian Occupied Territories from their series “Facts on the Ground.” Raggedly beautiful, these trees are visible evidence of Israeli policies that have made many orchards in the West Bank inaccessible to Palestinian farmers. Ties to these trees run deep, and cutting off farmers and families from their orchards is a powerful strategy of symbolic and economic discouragement.

Kathleen Vance's "Rogue Stream" is a site-specific installation of a miniature meandering stream that transverses a wall, connecting intermittently, through the use of wooden trestles.  This piece explores issues of ground water rights and environmental issues relative to the source stream referenced in the installation. Daniel Aycock’s “Geisen Family Journal” uses manipulated tintype photographs to trace the lineage of a family that was documented in a found journal written in 1896.

Cibele Vieira and Peter Fox 's selected works are from the era that they got together in 2006. Cibele's photo from her “Single and Looking for…” series explores the nature of relationships and interaction. The works are an invitation to enter and explore a world of desires and expectations on how people relate to each other. Peter's painting “Quiet Sort” was his homecoming gift to Cibele and their newborn son Sam, on their arrival home from the hospital. The painting is from a transitional moment in the evolution of his spilled paint series, shortly before he discovered the striped drip, of which he is known.

Ursula Weissmüller and Robert Ortega installation of drawings, collages and illustrated love letters from the past decade shows the couples passion for each other and the art of paper. The two also collaborated on the design of the show's exhibition card.


Julia Whitney Barnes and Sean Hemmerle's work relates to their travels in Iceland last summer. Julia's oil painting on mylar is from her "Bricks and Stones May Break" series and features cairns (manmade stacks of stones) that have since ancient times been erected as landmarks. For thousands of years they have also been built as sepulchral monuments, or used for defensive, hunting, ceremonial, astronomical and other purposes. The stacks in Julia’s painting are along the road to Þingvallavatn, where the North American and Eurasian continental plates meet. Sean's Chromogenic print shows three pairs of Icelandic sheep in a meadow just below the Eyjafjallajökull Volcano that erupted in 2010, covering in ash all of the immediate area and spanning across a large area of northern Europe. The sheep are immersed in lush greenery and seem unaware of the volcano's previous effects.

The Super Defense Force, Operation: God Hammer (War of the Tittanno Beasts)!!!














Join us this Saturday, June 21st at 8PM for the forth installment of the Mark Stilwell oeuvre which tells the tale of the Super Defense Force and the Tittanno Beasts.

Organized collectively, these performances depict giant robots battling giant monsters created from cardboard and recycled materials also including, experimental rock music composed by Brian Olin, accompanied by an array of video imagery and stop motion animation.

This Saturday's performance, in conjunction with Make Music New York, depicts the titanic struggle between the monsters and robots, Max Salvo, supreme commander of the Super Defense Force and the overlord of the Tittanno Beasts, Kungra exchange heated words, reminiscent of Gulf War era rhetoric.

The Super Defense Force, Operation: God Hammer (War of the Tittanno Beasts)!!!
June 21st, 8PM
FEATURING:
Mark Stilwell- Creator
Yoko Stilwell - Creator
Ethan Crenson - Creator/Performer
Christopher Paisley - Creator/Performer
Brian Olin - Musician
Kevin Kozak - Musician
Angelo Roldan - Performer
Mark Gonzalez - Performer
Kangsim Lee - Video Support


Reflection/Refraction Opens this Friday, June 6th


Reflection/Refraction

June 6th – June 29th, 2014
Reception: Friday, June 6th, 7-9PMFri–Sun 1-6 & by appointment

Featuring works by Mark Warren Jacques, Meryl Pataky, Randy Colosky, Sean Newport, and Sebastian Wahl

Front Room Gallery and guest curator Jillian Mackintosh are pleased to present Reflection/Refraction, a group exhibition based on a contemporary examination of artists who engage the viewers' perception and provoke shifting patterns of forms and optical mixtures of colors. Through various media, including painting, resin, sculpture, neon, ceramic and wood, the artists comment on the history of geometric abstraction.

Reflection/Refraction experiments with science, space and symbolism to tell a modern story. The fierce hues and psychedelic‎ palate is balanced by an organic integration of material and form. Natural forces such as light and shadow challenging the viewer to change their physical viewpoint while spatially creating balance.

The exhibition seeks to explore how our minds react to optical fabrications, allowing us to delve deeper into reality’s notions that are inherently rooted within ourselves. We hope to share with the community a vibrant and engaging selection of artworks from emerging artist from across the country.

About the work:

Mark Warren Jacques’ paintings seek to find equilibrium by stacking clean, geometric shapes and ancient symbols in front of blazing gradients, often creating an almost religious composition.

Similarly, Meryl Pataky combines concepts and imagery of spiritual language, the universe and psychology. These images are made with the elements of the periodic table (noble gases, carbon, silver and sodium) and serve as a foundation for her work.

Randy Colosky takes utilitarian materials and through unorthodox transformation re-contextualize there content. With the engineered ceramic material he works with, the pieces appears solid, however upon further investigation, viewed from certain vantage points the material seems to become momentarily invisible calling into question the initial perception of the object versus its material reality.

Sean Newport’s work manipulates color and light in a way that bends reality. He explores the 3rd and 4th dimension with hand cut geometric shapes tiled together creating peaks and valley's along with ever changing shadows and light play.

Sebastian Wahl’s collages are encased in layers of thick resin, creating physical depth to each hand cut image. Mused by sacred geometry and shamanic visions Whal attempt to channel these inspirations into his work in the form of psychedelic landscapes, iconic, mandalic and spiritual mayhem.

Closing Brunch with the Artist

Join us this Sunday, June 1st from 1-4PM for Brunch with the artist, Thomas Broadbent.


Thomas Broadbent

Adaptation

May 2nd-June 1st, 2014
Closing Brunch: Sunday, June 1st, 1-4PMFri–Sun 1-6 & by appointment

Front Room Gallery is proud to present a solo exhibition of new paintings and sculpture by Thomas Broadbent. In this new series of works the artist explores the idea of situational adaption of nature, with curious results. Broadbent often pairs commonly known birds with typical household objects, creating uncanny scenarios that seem familiar, but point to larger implications. Broabent's philosophical compositions often depict birds amongst mundane trappings of everyday humanity. These paintings, in a seemingly well-structured world of man-made artifice, reference the underlying impulses of nature.

Broadbent's large-scale watercolors have an absurdity to them that borders on the surreal, they are plausible scenarios, but the unlikely combination of elements, objects, and animals are otherworldly and common at the same time. Broadbent incorporates the style of James Audubon, representing birds and natural elements as life-size, with impeccable attention to detail.

Broadbent often juxtaposes these birds with objects in his stark picture plane that should be ten times bigger. Scale itself seems contorted in these new works; the viewer is suspended in a recalibration of realism, where a chickadee may seem gigantic in comparison to the ladder where it is perched, or the ladder itself appears miniaturized

Thomas Broadbent defines adaptation as a change in a plant or animal that makes it better able to live in a particular place or situation. His fascination with the way in which nature is endlessly able to adjust to a rapidly changing world, helps to inform his choice of elements in his compositions. His specifically limits his aviary subjects to birds that are reverenced in the famous: "Birds of America.” In this context Broadbent has selected volumes specific to his personal travels and objects relative to domesticity and construction in the United States. Environmental adaptation is personal as it is universal in the natural world; the quality of nature to adapt allows for preservation. The visualization of this adaptation can be surprising as it is fantastical and disquieting.

Broadbent has shown extensively throughout the U.S. as well as internationally. Broadbent’s numerous solo exhibitions include the Visual Art’s Center of New Jersey, Voorkhamer Gallery (Lier, Belgium), Croxhapox Gallery (Gent, Belgium) Inspace gallery (Beijing, China) and the Newark Arts Council. Broadbent’s work has been reviewed in The New York Times, The New Jersey Star-Ledger, NY Arts, The Brooklyn Rail and numerous other publications.

Thomas Broadbent "Adaptation" Exhibition Now On View



Broadbent

Thomas Broadbent

Adaptation

May 2nd-June 1st, 2014
Reception: Friday, May 2nd, 7-9Fri–Sun 1-6 & by appointment

Front Room Gallery is proud to present a solo exhibition of new paintings and sculpture by Thomas Broadbent. In this new series of works the artist explores the idea of situational adaption of nature, with curious results. Broadbent often pairs commonly known birds with typical household objects, creating uncanny scenarios that seem familiar, but point to larger implications. Broabent's philosophical compositions often depict birds amongst mundane trappings of everyday humanity. These paintings, in a seemingly well-structured world of man-made artifice, reference the underlying impulses of nature.

Broadbent's large-scale watercolors have an absurdity to them that borders on the surreal, they are plausible scenarios, but the unlikely combination of elements, objects, and animals are otherworldly and common at the same time. Broadbent incorporates the style of James Audubon, representing birds and natural elements as life-size, with impeccable attention to detail.

Broadbent often juxtaposes these birds with objects in his stark picture plane that should be ten times bigger. Scale itself seems contorted in these new works; the viewer is suspended in a recalibration of realism, where a chickadee may seem gigantic in comparison to the ladder where it is perched, or the ladder itself appears miniaturized

Thomas Broadbent defines adaptation as a change in a plant or animal that makes it better able to live in a particular place or situation. His fascination with the way in which nature is endlessly able to adjust to a rapidly changing world, helps to inform his choice of elements in his compositions. His specifically limits his aviary subjects to birds that are reverenced in the famous: "Birds of America.” In this context Broadbent has selected volumes specific to his personal travels and objects relative to domesticity and construction in the United States. Environmental adaptation is personal as it is universal in the natural world; the quality of nature to adapt allows for preservation. The visualization of this adaptation can be surprising as it is fantastical and disquieting.

Broadbent has shown extensively throughout the U.S. as well as internationally. Broadbent’s numerous solo exhibitions include the Visual Art’s Center of New Jersey, Croxhapox Gallery (Gent, Belgium) Inspace gallery (Beijing, China) and the Newark Arts Council. Broadbent’s work has been reviewed in The New York Times, The New Jersey Star-Ledger, NY Arts, The Brooklyn Rail and numerous other publications.

April Williamsburg Second Friday Event




















Join us Friday, April 11th from 7-9PM for
Williamsburg Second Friday Event

Walker Pickering: "Nearly West"

on view through April 27th

Front Room Gallery is proud to present “Nearly West,” a solo
exhibition of photographs by Austin based artist Walker Pickering. In
this series Pickering reflects on the subtleties in the landscape and
culture from West Texas to the Southern regions of the US. 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.

The places immortalized in Pickering’s work often show the wear of
time, they seem to have gone unnoticed for years, they have their own
lives and feel like they might never change—or they might be gone
already. In one of Pickering’s photographs a forgotten
architectural feature, an ornate entryway to a no longer existing
building, with the word “Mayflower” carved into the stone stands
guard over an empty plot in a field. In another photo, “Business
Cards,” a dimly lit storage space in an office, business cards are
taped to the walls cover every available surface, a textural overload
that has built over decades.

Pickering’s photographs in this series almost never have people in
them but the human hand is always evident in the environment. In
“Hole” a bucolic landscape containing a verdant river flows from
the distance towards the viewer, the lush fauna is reflected in the
river, an altogether beautiful scene—but centered in the middle of
the square photo is a large, completely unexplainable, circular hole
in the river. While the hole in the river is obviously man-made it is
a mysterious presence in the photo, a vortex to another dimension.

This is Walker Pickering’s first solo exhibition at The Front Room,
Walker received his MFA in photography from Savannah College of Art
and Design, and currently teaches photography at the Art Institute of
Austin. 

Patricia Smith: Mapper Now on VIew


Front Room Gallery presents Mapper, an exhibition of new works on paper by Patricia Smith. 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 writings of the Situationists on psychogeographical mapping served as a jumping off point for her recent year-long odyssey to Paris and other European cities to create works incorporating some of the locations that inspired these concepts. In her wanderings (dérives) through unfamiliar places, the artist gathered impressions of physical space, the residue of history, related emotional states, synchronicities and other details to map a specific place, time and point of view. The finished works are delicate, highly detailed paintings on paper incorporating images and texts rendered in ink, pencil, watercolor, rubber stamping and collage. Smith’s faintly biomorphic forms are somewhat reminiscent of medical illustration, antique cartography and mystical diagrams, yet are something else entirely.

Smith’s mappings are not exclusively anchored in external geography. In other works, such as Schizoanalysis, she organizes and analyzes texts, and maps their intersections with her own thoughts. The results are a highly individual infiltration of mapping into the fluid and mysterious regions of the mind.

As critic Benjamin Sutton has stated, “Smith's mind maps underline how we make sense of our accelerated and dematerialized interactions in elaborate, self-reflexive spatial terms. Maps grow more important as our trajectories become increasingly unclear.”

Patricia Smith has exhibited widely in the US and internationally, including recent exhibitions at Broadcast Gallery in Dublin, Ireland, Housatonic Museum in Bridgeport, CT, Voorkamer in Lier, Belgium, Bob Rauschenberg Gallery in Fort Meyers, FL and other venues in Paris, New York, Los Angeles and Montreal. Her work has been reviewed in numerous publications, including The New York Times, Art in America, the LA Times and L Magazine. In 2013 she was awarded a six-month residency at Cité Internationale des Arts in Paris. This May she will be an artist in residence at Stichting Kaus Australis in Rotterdam. Smith lives and works in New York.