The Super Defense Force vs The Tittanno Beasts (Battle for Newtopia)
Get Ready for the Battle of the Century!! Join us Thursday (for Make Music New York!) and Friday evening for a multimedia experience. Featuring Mark Stilwell's The Super Defense Force vs The Tittanno Beasts (Battle for Newtopia) and Brian Olin's Sound Performance.
Video Introduction for The Super Defense Force vs The Tittanno Beasts (Battle for Newtopia) 2012 Performance at the Front Room Gallery: a collaborative multimedia performance involving live experimental music in which giant monsters and robots created from cardboard and recycled materials, battle amongst the ruins of low income high rise buildings and a towering luxury condominium.
art by: Mark Stilwell and Chris Paisley
video by: Yoko Stilwell
Julia Whitney Barnes' Installation at S.P.A.R.C.
Julia Whitney Barnes unveils her latest installation, which incorporates mosaic techniques; ceramic reliefs are combined with glass fragments and reclaimed china pieces collected from the Brooklyn waterfront. Collaborating with the members of the Sirovich Senior Center on 12th Street, Julia Whitney Barnes has created an impressive installation that reflects the eclectic nature of the East Village and the diversity of the members that enjoy the center.
RECEPTION: Saturday, June 23rd from 3-6pm
Performances tonight and tomorrow evening at the Front Room!
Front Room performances for Make Music NY:
"The Super Defense Force vs The Tittanno Beasts (Battle for
Newtopia)"
Thurs. June 21st and Fri. June 22nd, 8pm
The Super Defense Force vs The Tittanno Beasts (Battle for Newtopia),
is a collaborative multimedia performance involving live experimental
music in which giant monsters and robots created from cardboard and
recycled materials, battle amongst the ruins of low income high rise
buildings and a towering luxury condominium.
As in previous performaces, The Tittanno Beast vs The Super Defense
force, this over the top sequel delves into opposing forces such as
the rich vs the poor, life vs artificial life, and chaos vs order
acted out by characters inspired by Japanese pop cultural staples
such as giant robots and monsters.
Featuring works by: Mark Stilwell, John Mejias and Brian Olin
Summer Sampler Exhibition Opens This Saturday
Join us Saturday evening for the opening of "Summer Sampler"
"Summer Sampler"Opening Reception: Saturday, June 23rd , 7-9
June 23rd-July 15th, 2012
The Front Room Gallery is proud to present "Summer Sampler", a delectable delight for the eyes, featuring works by the last season's Front Room artists as well as a preview of the shows to come, and some splendid new selections. With works by: Thomas Broadbent, Peter Fox, Kim Holleman, Sascha Mallon, Stephen Mallon, Mark Masyga, Allan Packer, Melissa Pokorny, Ross Racine, Tom Rosenthal, Emily Roz, Jeremy Slater, Patricia Smith, Sasha Bezzubov and Jessica Sucher, and Julia Whitney Barnes.
Thomas Broadbent's works on paper incorporate trompe l'oeil representations of seemingly unrelated objects and scenes, which allude to existentialistic ideas and create sophisticated associative meaning within each piece. His sensitivity to color, tactility, and structure propel these thoughts into reality, while maintaining a key tie to illusion and metaphor.
Peter Fox's brilliantly colorful paintings use elements of Minimalism, OP art and Psychadelia. Fox spills paint onto the canvas, allowing chance and fluid dynamics a central role in shaping process and outcome. In his "Process" series Fox creates directed forms through composed accident, creating a visual structure that accumulates on the surface of each painting, developing a textural world of color that is drenched in abstraction. Entering a new arena of self-reflexive discourse, Fox has established a nuanced language, built from his vocabulary developed through his signature style of drip painting.
Kim Holleman relates environmental issues of contamination of our natural resources, brought on by radioactive fallout, chemicals seeping into ground water, oil spills and the ephemera in our petro-chemical environment. She infers the impact of these elements and the increasing toll on our natural environment, presenting an installation of displays and scenes, colliding natural and artificial reality, both fantastical and frightening, into a curio collection gone awry.
Sascha Mallon has developed a style of abstract storytelling that integrates narratives from unfiltered impressions of human interactions, society and history. Emotions and impulses are reconciled amongst her complex compositions; her drawings and video works are abundant in their signifiers and concealed references.
Stephen Mallon's continuing photographic series, "American Reclamation", chronicles and examines recycling processes in the U.S. This series holds optimism in the innovation of salvaging techniques, showing the possible gains that can be made as industrial waste is revivified. Mallon's photographs often hit a deeply personal note as scenarios of subway cars sinking to the depths of the Atlantic, or airplanes driven on tractor-trailers through suburban New Jersey upend our notions of the status quo.
Mark Masyga employs traditions of abstraction, color field, and hard edge painting techniques, creating considered compositions made up of stacked rectangular forms on tonal grounds. His paintings give abstracted order to impressions taken from the chaos of discarded construction materials at industrial sites.
Allan Packer's extensive and impressive body of work examines elemental and cultural ideas, often referencing time and matter, and addressing our understanding of infinity.
Melissa Pokorny’s new photo/collage/sculptural works reveal the extraordinary beauty hidden in the guise of the quotidian. Domestic objects gleaned from estate sales are combined with photographs and casts of utilitarian things—hammers, flashlights, pin cushions and coat hooks, to create evocative tableau that blur the boundaries between the domestic sphere and the natural world, the animate and the inanimate, the magical and the mundane, and remembered or invented memories of places and things.
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.
Tom Rosenthal's paintings create visual tension though an optical composition informed and composed from graphic sources. The colorful grid paintings draw inspiration from commonplace shapes and forms such as helvetica letters, corporate logos and chinese characters. Abstracted through repetition, these elements never quite lose their original place or meaning, yet still become something wholly different.
Emily Roz investigates basic primitive directives of survival, with stunning depictions of wild animals in seemingly native habitats, revealed as illusion, with her insertion of domestic floral. These works display the incongruity within wild, natural impulses and the human desire to cultivate beauty through the propagation of plant-life.
Jeremy D. Slater works with the ephemeral qualities and conditions of the environment, capturing the subtle, often elusive tones and tenor of our modern world. In his photographic series, “Fade,” Slater relates the transformative and devolutionary affects of time through a series of distressed wall advertisements, shot in Seoul, South Korea during his residency at Seoul Art Space_Geumcheon.
Patricia Smith's meticulous, quietly subversive works commingle elements of architectural drawings, medical illustrations, and antique maps. Often labeled with text captions, these imaginary structures address the anxieties of contemporary life and the coping mechanisms that develop in the collective psyche.
Sasha Bezzubov and Jessica Sucher have been collaborating since 2002, creating photographic series which bring a perspective of clarity to conflicts and present an empathetic vision to charged social and political issues. The boldness of their subject matter is portrayed in evoking, poetic photographs that are masterfully composed. Their recent series "Facts on the Ground," photographs taken in Israel/Palestine contemplates the effects of the senseless and seemingly unresolvable conflict.
Julia Whitney Barnes's vivid, luminous paintings cull naturalistic imagery from an abstracted ground. These works are rooted simultaneously in science while evoking the fantastical.
June 23rd-July 15th, 2012
The Front Room Gallery is proud to present "Summer Sampler", a delectable delight for the eyes, featuring works by the last season's Front Room artists as well as a preview of the shows to come, and some splendid new selections. With works by: Thomas Broadbent, Peter Fox, Kim Holleman, Sascha Mallon, Stephen Mallon, Mark Masyga, Allan Packer, Melissa Pokorny, Ross Racine, Tom Rosenthal, Emily Roz, Jeremy Slater, Patricia Smith, Sasha Bezzubov and Jessica Sucher, and Julia Whitney Barnes.
Thomas Broadbent's works on paper incorporate trompe l'oeil representations of seemingly unrelated objects and scenes, which allude to existentialistic ideas and create sophisticated associative meaning within each piece. His sensitivity to color, tactility, and structure propel these thoughts into reality, while maintaining a key tie to illusion and metaphor.
Peter Fox's brilliantly colorful paintings use elements of Minimalism, OP art and Psychadelia. Fox spills paint onto the canvas, allowing chance and fluid dynamics a central role in shaping process and outcome. In his "Process" series Fox creates directed forms through composed accident, creating a visual structure that accumulates on the surface of each painting, developing a textural world of color that is drenched in abstraction. Entering a new arena of self-reflexive discourse, Fox has established a nuanced language, built from his vocabulary developed through his signature style of drip painting.
Kim Holleman relates environmental issues of contamination of our natural resources, brought on by radioactive fallout, chemicals seeping into ground water, oil spills and the ephemera in our petro-chemical environment. She infers the impact of these elements and the increasing toll on our natural environment, presenting an installation of displays and scenes, colliding natural and artificial reality, both fantastical and frightening, into a curio collection gone awry.
Sascha Mallon has developed a style of abstract storytelling that integrates narratives from unfiltered impressions of human interactions, society and history. Emotions and impulses are reconciled amongst her complex compositions; her drawings and video works are abundant in their signifiers and concealed references.
Stephen Mallon's continuing photographic series, "American Reclamation", chronicles and examines recycling processes in the U.S. This series holds optimism in the innovation of salvaging techniques, showing the possible gains that can be made as industrial waste is revivified. Mallon's photographs often hit a deeply personal note as scenarios of subway cars sinking to the depths of the Atlantic, or airplanes driven on tractor-trailers through suburban New Jersey upend our notions of the status quo.
Mark Masyga employs traditions of abstraction, color field, and hard edge painting techniques, creating considered compositions made up of stacked rectangular forms on tonal grounds. His paintings give abstracted order to impressions taken from the chaos of discarded construction materials at industrial sites.
Allan Packer's extensive and impressive body of work examines elemental and cultural ideas, often referencing time and matter, and addressing our understanding of infinity.
Melissa Pokorny’s new photo/collage/sculptural works reveal the extraordinary beauty hidden in the guise of the quotidian. Domestic objects gleaned from estate sales are combined with photographs and casts of utilitarian things—hammers, flashlights, pin cushions and coat hooks, to create evocative tableau that blur the boundaries between the domestic sphere and the natural world, the animate and the inanimate, the magical and the mundane, and remembered or invented memories of places and things.
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.
Tom Rosenthal's paintings create visual tension though an optical composition informed and composed from graphic sources. The colorful grid paintings draw inspiration from commonplace shapes and forms such as helvetica letters, corporate logos and chinese characters. Abstracted through repetition, these elements never quite lose their original place or meaning, yet still become something wholly different.
Emily Roz investigates basic primitive directives of survival, with stunning depictions of wild animals in seemingly native habitats, revealed as illusion, with her insertion of domestic floral. These works display the incongruity within wild, natural impulses and the human desire to cultivate beauty through the propagation of plant-life.
Jeremy D. Slater works with the ephemeral qualities and conditions of the environment, capturing the subtle, often elusive tones and tenor of our modern world. In his photographic series, “Fade,” Slater relates the transformative and devolutionary affects of time through a series of distressed wall advertisements, shot in Seoul, South Korea during his residency at Seoul Art Space_Geumcheon.
Patricia Smith's meticulous, quietly subversive works commingle elements of architectural drawings, medical illustrations, and antique maps. Often labeled with text captions, these imaginary structures address the anxieties of contemporary life and the coping mechanisms that develop in the collective psyche.
Sasha Bezzubov and Jessica Sucher have been collaborating since 2002, creating photographic series which bring a perspective of clarity to conflicts and present an empathetic vision to charged social and political issues. The boldness of their subject matter is portrayed in evoking, poetic photographs that are masterfully composed. Their recent series "Facts on the Ground," photographs taken in Israel/Palestine contemplates the effects of the senseless and seemingly unresolvable conflict.
Julia Whitney Barnes's vivid, luminous paintings cull naturalistic imagery from an abstracted ground. These works are rooted simultaneously in science while evoking the fantastical.
Second Friday Performances at The Front Room
Join us Friday, June 8th, from 7-9pm for 'Williamsburg Second Friday', featuring an evening of sound performances curated by Jeremy Slater, in conjunction with our current exhibition, "The Reefing of USS Radford," a solo exhibition of photographs by Stephen Mallon. Featuring: Zaïmph, Warren Ng and Band Antenna
Zaïmph is the solo project of ambient noise artist Marcia Bassett. Although legendary for white-hot guitar and vocal brutality, Zaimph's recent recordings and performances infuse cracked-raga song structures with dense electronic and synthesiser drones to create soundscapes where a lurking apocalypse is eclipsed by shimmering, meditative beauty.
Warren Ng is an experimental guitarist based in Brooklyn who draws from minimalism, drone, and noise. He has performed and recorded under the names This Invitation, Somnambulists, and A Blanket of Snow. His releases include: This Invitation's The Skin of Light (2004) and Sunless / Ellipses, Lapses, and Collapses (2010); and Somnambulists' At Daybreak the First Greyness to Emerge (2010) and The Invisible Score (2010). He also appeared on thecompilation Music for Plants (2005) and performed in Rhys Chatham's A Crimson Grail (for 200 Guitars) at Lincoln Center in 2009.
Band Antenna is a musical trio that has been channel surfing the outer frequencies for about 4 years. The Tribal Council of the Super Moon has utilized the Band Antenna to broadcast on their debut album. Band Antenna's "Super Moon Post" was released in March.
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