tag:blogger.com,1999:blog-63122635585680256632024-03-13T10:20:18.205-07:00front room galleryThis blog is designed to keep Front Room fans updated on our events and artists. Since 1999 The Front Room Gallery has been dedicated to exhibiting artwork by emerging and mid-career artists with a concentration on photography, conceptual art, video, audio art, and installation. The gallery is located at 147 Roebling Street in Williamsburg, Brooklyn. www.frontroom.orgFront Room galleryhttp://www.blogger.com/profile/01577791128800846475noreply@blogger.comBlogger154125tag:blogger.com,1999:blog-6312263558568025663.post-10659347202830846142018-02-28T11:07:00.001-08:002018-02-28T11:09:08.993-08:00<i><b>SURFACE TENSION</b></i><br />
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<i><b>A solo exhibition of paintings by Peter Fox</b></i><br />
<i>February 23rd - March 18th 2018</i><br />
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<i><b>Inaugural Reception:</b></i><br />
<i>Friday, February 23rd, 7-9 PM</i><br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjQDmYG9_-QD8aSLsPxzmI5ZGyLa-uh859gk-KyqI9uzK2eKzMKdytmjiCjJPzUiMFed0ORqaIs_UWEZOF590aDP5-Be_Odvt6Zw-2bVfdBCMtNj9lyzHxDmcx9VXsKJK7nR4Z4svajKUQ/s1600/Peter_Fox_War_lock_2018_HiRes.jpg" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" data-original-height="563" data-original-width="750" height="300" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjQDmYG9_-QD8aSLsPxzmI5ZGyLa-uh859gk-KyqI9uzK2eKzMKdytmjiCjJPzUiMFed0ORqaIs_UWEZOF590aDP5-Be_Odvt6Zw-2bVfdBCMtNj9lyzHxDmcx9VXsKJK7nR4Z4svajKUQ/s400/Peter_Fox_War_lock_2018_HiRes.jpg" width="400" /></a></div>
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<span style="background-color: white; color: #333333; font-family: "chivo"; font-size: 16px; letter-spacing: 0.3199999928474426px;"><span style="background-color: white; color: #333333; font-family: "chivo"; font-size: 16px; letter-spacing: 0.3199999928474426px;">Front Room gallery is proud to present </span><strong style="background-color: transparent; word-wrap: break-word;">"Surface Tension," Peter Fox’s third solo exhibition with the gallery.</strong><span style="background-color: white; color: #333333; font-family: "chivo"; font-size: 16px; letter-spacing: 0.3199999928474426px;"> With this series of new paintings, Fox has reduced his palette to earth tones, which accentuate the natural contrasts in burnt siennas, dark browns and yellow ochres with the cool blues of payne’s grey. This series delves into the artist’s sub-conscious; created in a controlled self-reflexive state, the surface forms and gestures are defined by the act of application itself. </span> </span><br />
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Peter Fox’s style of painting involves layering processes, reflecting the conceptual layering that underlies the larger project. These works develop and explore relational color constructs, mediated through formal systems which reference automatic drawing, abstract painting and process art.</div>
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There is a tension created between the physical depth of the material surface of the paintings and the illusion of depth. This surface tension draws the viewer into a field of vision that creates a transfiguration of the forms into seemingly recognizable imagery and narrative references. This illusion is a construct of the viewer as Fox maintains no representation references in these processed based works. </div>
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Peter Fox’s work has been exhibited extensively throughout the US and internationally, in numerous gallery, institutional, and museum contexts, including Front Room, Pierogi, and Roebling Hall (NYC), Beta Pictoris Gallery (Birmingham, AL), Good Citizen (St. Louis), Magazzino d’Arte Moderna (Rome), The New Hampshire Institute of Art, The Washington State University Galleries, The University Art Museum at SUNY and the Museu de Arte do Rio Grande do Sul, (Porto Alegre, Brazil), where it is in the permanent collection. His work has been featured in The Brooklyn Rail, Salon, Artcritical, Hyperallergic, The Washington Post, Artnet, ArtNotes, Segno and TimeOut Roma, among other publications. </div>
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FrontRoomhttp://www.blogger.com/profile/14347543503352581884noreply@blogger.comtag:blogger.com,1999:blog-6312263558568025663.post-19517979248648010942018-02-14T13:10:00.002-08:002018-02-14T13:10:39.814-08:00Pattern in Landscape Exhibition<table cellpadding="0" cellspacing="0" class="t1">
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiwkmBsItx22147k5Hl3zS9KAZe6q4hvGm0vr7b6wlANVn6zQ4FvpPB93uMzgsMPa3JKTYc29oaaBLFtO6eUQ_bE_ol44u0UKJdnfssE09Hck6tbEjrHooaknBk52tRT3N4kb2poQhSfXs7/s1600/patterninlandscape.png" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="403" data-original-width="554" height="232" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiwkmBsItx22147k5Hl3zS9KAZe6q4hvGm0vr7b6wlANVn6zQ4FvpPB93uMzgsMPa3JKTYc29oaaBLFtO6eUQ_bE_ol44u0UKJdnfssE09Hck6tbEjrHooaknBk52tRT3N4kb2poQhSfXs7/s320/patterninlandscape.png" width="320" /></a><b>featuring the work of:</b></div>
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<i>Sasha Bezzubov, Thomas Broadbent, Phillip Buehler, Stephen Mallon, Mark Masyga, Ross Racine, Emily Roz, Zoe Wetherall, and Julia Whitney Barnes</i></div>
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Jan 26th-Feb 18th</div>
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Front Room is proud to present <b>“Pattern in Landscape,”</b> a group show featuring the work of <b>Sasha Bezzubov, Thomas Broadbent, Stephen Mallon, Mark Masyga, Ross Racine, Emily Roz, Zoe Wetherall and Julia Whitney Barnes.</b> “Pattern in Landscape” includes artists that explore the concept of landscape outside of conventional ideas and incorporate components of pattern into their composition. These artists often make use of naturally occurring patterns such as spirals, waves, tessellations, cracks, stripes, symmetrical branches and fractals.</div>
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<b>Sasha Bezzubov’s</b> photographs of the “Albedo Zone” are large format black and white stark compositions of Arctic ice and water. Albedo is the measure of diffusive reflection of solar radiation. These photos are stark visible examples of global climate change.</div>
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<b>Thomas Broadbent’s</b> installation of watercolor panels, "Lunar Crater Chain" is a highly detailed black and white rendering based on actual moon craters and tiled together in the way that NASA tiles photographs taken by its space rovers.</div>
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In <b>Phillip Buehler’s</b> aerial photographs from a military airplane storage yard in Arizona the repetition of the same model of bomber aircraft are so abstractly pattern-based that the overall effect beginnings to feel like a Middle Eastern tapestry.</div>
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<b>Stephen Mallon’s</b> otherworldly “Italian Forest” is a grove of trees in an industrial tree farm. Mallon’s composition directs the viewer to see the parallels and repetition within the forest.</div>
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<b>Mark Masyga’s</b> paintings are made up of lively, linear elements in balance with a sensitive, intense sense of color. Masyga incorporates abstracted reference to architectural landscapes in his compositions.</div>
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<b>Ross Racine</b> creates his hyper-real suburban landscapes with a uniquely developed drawing method combining the languages of drawing and digital imaging.</div>
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<b>Emily Roz’s</b> paintings’ heightened realism, flowers, seedpods, branches and carcasses coexist in a world of dreamlike unreality. As the animals in these scenes fight for position under the teasing petals, the muted color backdrops preserve the freshness of such eroticism found in nature and violence.</div>
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The beauty of <b>Zoe Wetherall’s</b> work is in the structured geometry of natural and man-made forms. Wetherall uses her camera to reveal the beauty in the subtle patterns hidden in architecture and landscape. Photographing the landscape without a reference point to sky or horizon emphasizes natural patterns within the earth's colors and textures.</div>
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<b>Julia Whitney Barnes</b> combines elements from the human or built environment in surreal juxtapositions with nature. In “Bricks and Stones May Break (Iceland/Rainbow Windows)” the organic landscape is framed through the geometric windows, each tinted a unique hue.</div>
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Unknownnoreply@blogger.comtag:blogger.com,1999:blog-6312263558568025663.post-54080357879829635772017-09-13T14:02:00.002-07:002017-09-13T14:02:29.958-07:00<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEijwujEaG4dVFM-2d9o-wWE6nytT8ufFPUSVaYJAJRdB9ih-0dNimptQfslTrTFLPjf_8-QC_ZGGI9EfEfIT84TWgrBNPWtPrYOpeW85Ni4c8-eN9tRenj1425gKjqIcVPQM1AiDWt_1wRG/s1600/B-52+Vietnam.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="267" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEijwujEaG4dVFM-2d9o-wWE6nytT8ufFPUSVaYJAJRdB9ih-0dNimptQfslTrTFLPjf_8-QC_ZGGI9EfEfIT84TWgrBNPWtPrYOpeW85Ni4c8-eN9tRenj1425gKjqIcVPQM1AiDWt_1wRG/s400/B-52+Vietnam.jpg" width="400" /></a></div>
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<b>(UN)THINKABLE</b><br />
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<b>Gallery Crawl!!!</b></div>
<div style="text-align: center;">
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<div style="text-align: center;">
A solo exhibition of photographs by Phillip Buehler</div>
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<div style="text-align: center;">
Friday, September 15th, 6:00-9:00 pm</div>
<div style="text-align: center;">
Wed-Sun 1-6 pm and by appointment</div>
<div style="text-align: center;">
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<div style="text-align: center;">
VISIT OUR WEBSITE: https://www.frontroomles.com/</div>
<div style="text-align: center;">
<br /></div>
<div style="text-align: center;">
OFFICIAL PRESS RELEASE: https://www.frontroomles.com/unthinkablepr</div>
<div style="text-align: center;">
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<div style="background: white; text-align: justify; text-justify: inter-ideograph;">
<span style="font-weight: normal;"><span style="color: #222222; font-family: "univers 55"; font-size: 9pt;">Front Room Gallery is proud to present “(un)thinkable,” the culmination of 25 years of Phillip Buehler’s work photographing remnants of the Cold War throughout the United States and Europe. Buehler has visited NATO airbases, Cape Canaveral, the Airplane Graveyard, missile bunkers and silos (even within New York City’s borders) among many other sites that are historic, and yet hidden, forbidden, and forgotten.</span></span><span style="font-weight: normal;"><span style="color: #222222; font-family: "univers 55"; font-size: 9.5pt;"> </span></span><span style="font-weight: normal;"><span style="color: #222222; font-family: "univers 55"; font-size: 9pt;">For anyone growing up during the Cold War the sense of dread of the world’s annihilation was all to concrete. It was evidenced in films like “Dr. Strangelove” and “The Day After.” Everyone knew the U.S. had enough nuclear weapons to destroy the world 5 times over, and assumed something similar about the Russians. For those not old enough to remember this built in fear, don’t worry (worry) it is reawakening. We don’t need another Cuban Missile Crisis to push us to the brink, the renewed tension with the Russians, and now North Korea’s recent entry in the the nuclear weapons club is more than enough to unnerve anyone who is watching these conflicts unfold. Phillip Buehler is watching closely. </span></span><span style="font-weight: normal;"><span style="color: #222222; font-family: "univers 55"; font-size: 9.5pt;"> </span></span><span style="font-weight: normal;"><span style="color: #222222; font-family: "univers 55"; font-size: 9pt;">Through this comprehensive series Buehler’s photos show many aspects of this non-war war. In Buehler’s aerial photographs from a military airplane storage yard in Arizona the repetion of the same model of bomber aircraft are so abstractly pattern-based that the overall effect begings to feel like a Middle Eastern tapastry. And in Buehler’s image from inside a Nike Missile bunker in the Rockaways (part of New York City’s old nuclear defense network) a vast graffiti covered concrete and steel structure one can see where the roof opens up to lift and fire a nuclear missile. Of couse this exhibition would not be complete without his photo of the iconic “Fallout Shelter” signs, still visible at public schools and libraries all over the country. The practical nature of these leftover signs could send a chill down the spine of anyone who thinks about it for very long.</span></span><span style="font-weight: normal;"><span style="color: #222222; font-family: "univers 55"; font-size: 9.5pt;"> </span></span><span style="font-weight: normal;"><span style="color: #222222; font-family: "univers 55"; font-size: 9pt;">Phil Buehler’s interest in modern Ruins started in 1973 when he rowed out to then abandoned Ellis Island and he has continued to document 20th -Century ruins around the world seeking to rescue the past one step ahead of the wrecking ball. Buehler practiced “duck and cover” drills in grammar school - the image below is of the fallout shelter sign still on that school.”His recent book, “Woody Guthrie’s Wardy Forty,” won numerous awards and documents the singer/songwriter/activist’s life at Greystone Park Psychiatric through an intricate juxtaposition of photographs of the now-abandoned hospital buildings, Guthrie’s writings, medical records and interviews with close friends and family.</span></span></div>
Unknownnoreply@blogger.comtag:blogger.com,1999:blog-6312263558568025663.post-21605382885496934252017-07-28T13:37:00.001-07:002017-07-28T13:43:08.880-07:00Phillip Buehler: (UN)THINKABLE<br />
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<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEijwujEaG4dVFM-2d9o-wWE6nytT8ufFPUSVaYJAJRdB9ih-0dNimptQfslTrTFLPjf_8-QC_ZGGI9EfEfIT84TWgrBNPWtPrYOpeW85Ni4c8-eN9tRenj1425gKjqIcVPQM1AiDWt_1wRG/s1600/B-52+Vietnam.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="267" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEijwujEaG4dVFM-2d9o-wWE6nytT8ufFPUSVaYJAJRdB9ih-0dNimptQfslTrTFLPjf_8-QC_ZGGI9EfEfIT84TWgrBNPWtPrYOpeW85Ni4c8-eN9tRenj1425gKjqIcVPQM1AiDWt_1wRG/s400/B-52+Vietnam.jpg" width="400" /></a></div>
<br />
<div style="text-align: center;">
<b>(UN)THINKABLE</b></div>
<div style="text-align: center;">
<br /></div>
<div style="text-align: center;">
A solo exhibition of photographs by Phillip Buehler</div>
<br />
<div style="text-align: center;">
Opening Reception: Friday, September 8th, 7:00-9:00 pm</div>
<div style="text-align: center;">
Wed-Sun 1-6 pm and by appointment</div>
<div style="text-align: center;">
<br /></div>
<div style="text-align: center;">
VISIT OUR WEBSITE: https://www.frontroomles.com/</div>
<div style="text-align: center;">
<br /></div>
<div style="text-align: center;">
OFFICIAL PRESS RELEASE: https://www.frontroomles.com/unthinkablepr</div>
<div style="text-align: center;">
<br /></div>
<div style="background: white; text-align: justify; text-justify: inter-ideograph;">
<span style="font-weight: normal;"><span style="color: #222222; font-family: "Univers 55"; font-size: 9.0pt; mso-bidi-font-family: "Times New Roman"; mso-fareast-font-family: "Times New Roman";">Front Room Gallery is proud to present “(un)thinkable,” the
culmination of 25 years of Phillip Buehler’s work photographing remnants of the
Cold War throughout the United States and Europe. Buehler has visited NATO
airbases, Cape Canaveral, the Airplane Graveyard, missile bunkers and silos
(even within New York City’s borders) among many other sites that are historic,
and yet hidden, forbidden, and forgotten.</span></span><span style="font-weight: normal;"><span style="color: #222222; font-family: "Univers 55"; font-size: 9.5pt; mso-bidi-font-family: "Times New Roman"; mso-fareast-font-family: "Times New Roman";"><o:p> </o:p></span></span><span style="font-weight: normal;"><span style="color: #222222; font-family: "Univers 55"; font-size: 9.0pt; mso-bidi-font-family: "Times New Roman"; mso-fareast-font-family: "Times New Roman";">For anyone growing up during the Cold War the sense of dread of
the world’s annihilation was all to concrete. It was evidenced in films like
“Dr. Strangelove” and “The Day After.” Everyone knew the U.S. had enough
nuclear weapons to destroy the world 5 times over, and assumed something
similar about the Russians. For those not old enough to remember this built in
fear, don’t worry (worry) it is reawakening. We don’t need another Cuban
Missile Crisis to push us to the brink, the renewed tension with the Russians,
and now North Korea’s recent entry in the the nuclear weapons club is more than
enough to unnerve anyone who is watching these conflicts unfold. Phillip
Buehler is watching closely. </span></span><span style="font-weight: normal;"><span style="color: #222222; font-family: "Univers 55"; font-size: 9.5pt; mso-bidi-font-family: "Times New Roman"; mso-fareast-font-family: "Times New Roman";"><o:p> </o:p></span></span><span style="font-weight: normal;"><span style="color: #222222; font-family: "Univers 55"; font-size: 9.0pt; mso-bidi-font-family: "Times New Roman"; mso-fareast-font-family: "Times New Roman";">Through this comprehensive series Buehler’s photos show
many aspects of this non-war war. In Buehler’s aerial photographs from a
military airplane storage yard in Arizona the repetion of the same model of
bomber aircraft are so abstractly pattern-based that the overall effect begings
to feel like a Middle Eastern tapastry. And in Buehler’s image from
inside a Nike Missile bunker in the Rockaways (part of New York City’s old
nuclear defense network) a vast graffiti covered concrete and steel structure
one can see where the roof opens up to lift and fire a nuclear missile. Of
couse this exhibition would not be complete without his photo of the iconic
“Fallout Shelter” signs, still visible at public schools and libraries all over
the country. The practical nature of these leftover signs could send a chill
down the spine of anyone who thinks about it for very long.</span></span><span style="font-weight: normal;"><span style="color: #222222; font-family: "Univers 55"; font-size: 9.5pt; mso-bidi-font-family: "Times New Roman"; mso-fareast-font-family: "Times New Roman";"><o:p> </o:p></span></span><span style="font-weight: normal;"><span style="color: #222222; font-family: "Univers 55"; font-size: 9.0pt; mso-bidi-font-family: "Times New Roman"; mso-fareast-font-family: "Times New Roman";">Phil Buehler’s interest in modern Ruins started in 1973 when he
rowed out to then abandoned Ellis Island and he has continued to document 20th
-Century ruins around the world seeking to rescue the past one step ahead
of the wrecking ball. Buehler practiced “duck and cover” drills in grammar school
- the image below is of the fallout shelter sign still on that school.”His
recent book, “Woody Guthrie’s Wardy Forty,” won numerous awards and documents
the singer/songwriter/activist’s life at Greystone Park Psychiatric through an
intricate juxtaposition of photographs of the now-abandoned hospital buildings,
Guthrie’s writings, medical records and interviews with close friends and
family.</span></span></div>
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Unknownnoreply@blogger.comtag:blogger.com,1999:blog-6312263558568025663.post-75902008258100540652017-06-07T12:05:00.002-07:002017-06-07T12:05:24.019-07:00<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgHQuf90vBKaTPNQldlOvzISW-2AnVPG5P0fLgphdLNpoYkm_09wutvw92q0SlgRI0VfuTkh3qmPPY1lCThgSJ6ZPsxuyxtm0I_GPUug22lqOuHZ4vv84H-TPnoO-zqBRzcOzKvxlHsTGDX/s1600/larger.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="1024" data-original-width="1024" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgHQuf90vBKaTPNQldlOvzISW-2AnVPG5P0fLgphdLNpoYkm_09wutvw92q0SlgRI0VfuTkh3qmPPY1lCThgSJ6ZPsxuyxtm0I_GPUug22lqOuHZ4vv84H-TPnoO-zqBRzcOzKvxlHsTGDX/s320/larger.jpg" width="320" /></a></div>
<br />
<div style="text-align: center;">
<span style="background-color: white; color: #4b4f56; font-family: "San Francisco", -apple-system, system-ui, ".SFNSText-Regular", sans-serif; font-size: 14px; letter-spacing: -0.24px;"><br /></span></div>
<h2 style="text-align: center;">
<span style="background-color: white; color: #4b4f56; font-family: "San Francisco", -apple-system, system-ui, ".SFNSText-Regular", sans-serif; font-size: 14px; letter-spacing: -0.24px;"><b>SUMMER SAMPLER</b></span></h2>
<div style="text-align: center;">
<span style="color: #4b4f56; font-family: "San Francisco", -apple-system, system-ui, ".SFNSText-Regular", sans-serif; font-size: 14px; letter-spacing: -0.24px;"><br /></span></div>
<span style="background-color: white; color: #4b4f56; font-family: "San Francisco", -apple-system, system-ui, ".SFNSText-Regular", sans-serif; font-size: 14px; letter-spacing: -0.24px;"><h3 style="text-align: center;">
<span style="letter-spacing: -0.24px;">June 16 - July 16th, 2017</span></h3>
</span><div style="text-align: center;">
<span style="color: #4b4f56; font-family: "San Francisco", -apple-system, system-ui, ".SFNSText-Regular", sans-serif; font-size: 14px; letter-spacing: -0.24px;"><br /></span></div>
<span style="background-color: white; color: #4b4f56; font-family: "San Francisco", -apple-system, system-ui, ".SFNSText-Regular", sans-serif; font-size: 14px; letter-spacing: -0.24px;"><h4 style="text-align: center;">
<span style="letter-spacing: -0.24px;">Reception: Friday, June 16th 7-9PM</span></h4>
</span><br style="background-color: white; color: #4b4f56; font-family: "San Francisco", -apple-system, system-ui, ".SFNSText-Regular", sans-serif; font-size: 14px; letter-spacing: -0.24px;" /><span style="background-color: white; color: #4b4f56; font-family: "San Francisco", -apple-system, system-ui, ".SFNSText-Regular", sans-serif; font-size: 14px; letter-spacing: -0.24px;">Sasha Bezzubov, Thomas Broadbent, Phillip Buehler, Jade Doskow, Peter Fox, Sean Hemmerle, Amy Hill, Jesse Lambert, Mark Masyga, Stephen Mallon, Sascha Mallon, Melissa Pokorny, Ross Racine, Ken Ragsdale, Paul Raphaelson, Emily Roz, Patricia Smith, Joanne Ungar, Edie Winograde</span><br style="background-color: white; color: #4b4f56; font-family: "San Francisco", -apple-system, system-ui, ".SFNSText-Regular", sans-serif; font-size: 14px; letter-spacing: -0.24px;" /><br style="background-color: white; color: #4b4f56; font-family: "San Francisco", -apple-system, system-ui, ".SFNSText-Regular", sans-serif; font-size: 14px; letter-spacing: -0.24px;" /><span style="background-color: white; color: #4b4f56; font-family: "San Francisco", -apple-system, system-ui, ".SFNSText-Regular", sans-serif; font-size: 14px; letter-spacing: -0.24px;">For some people the summer begins with Memorial Day, for others it is the Summer Solstice, but for those in the know—it begins with "Summer Sampler." The Front Room Gallery is proud to present the 13th annual Summer Sampler featuring: Sasha Bezzubov, Thomas Broadbent, Phillip Buehler, Jade Doskow, Peter Fox, Sean Hemmerle, Amy Hill, Jesse Lambert, Mark Masyga, </span><span class="text_exposed_show" style="background-color: white; color: #4b4f56; display: inline; font-family: "San Francisco", -apple-system, system-ui, ".SFNSText-Regular", sans-serif; font-size: 14px; letter-spacing: -0.24px;">Stephen Mallon, Sascha Mallon, Melissa Pokorny, Ross Racine, Ken Ragsdale, Paul Raphaelson, Emily Roz, Patricia Smith, Joanne Ungar, Edie Winograde. Front Room Gallery's traditional Summer group exhibition is a sampling of works by the gallery's stable of painters, photographers, and sculptors featuring a selection of things from the upcoming season as well as some favorites by artists who have had recent shows at our new Lower East Side location.<br /><br />Sasha Bezzubov’s photographic approach has developed through diverse series that address the contemporary condition and explore the nature of the document. Working both solo and with his sometime collaborator Jessica Sucher, Sasha Bezzubov uses a large format camera to photograph the people and the land in diverse series including, The Gringo Project, Expats and Natives, Things Fall Apart, The Searchers, Albedo Zone, Facts on the Ground and most recently, Republic of Dust.<br /><br />Thomas Broadbent has shown extensively throughout the U.S. as well as internationally. Broadbent’s work won the Pulse Prize for best solo booth at Pulse Art Fair. 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.<br /><br />Phillip Buehler, 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.<br /><br />Jade Doskow’s “Lost Utopias” documents what remains of these World Fairgrounds, in their profound grandeur, but also the relics of less notable attractions that have been repurposed or left to decline. Lost Utopias project juxtaposes emblematic monuments with sad and abandoned decaying structures, provoking the viewer to consider how idealistic feats of architecture can either succeed or disappear into obscurity.<br /><br />Peter Fox, 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, he explores the language of relational color, as articulated through layered processes. Each composition is developed through variance and repetition, and evolves with the allowance of chance.<br /><br />Sean Hemmerle, He quickly established his reputation as a sought-after architectural and urban landscape photographer, and since 9/11 has turned his eye toward documenting the effects of war in New York, Afghanistan and Iraq.<br /><br />Amy Hill’s paintings are updates of works from earlier eras. She has chosen portraiture as it is a genre that runs through art history and allows her through poses, gestures and fashion detail to make social, psychological and anthropological statements about her subjects. Humor emerges through the juxtaposition of modern day fashion and historical figures.<br /><br />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.<br /><br />Mark 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.<br /><br />Stephen Mallon, Mallon is known for his photographs of big (with a capital “B”) things crashing, sinking, levitating, being dismantled or constructed. In his long running series “American Reclamation” many of the subjects are small bails, stacks, compressed cubes, mounds, random/shapeless units, and swirling vortexes. Light gleams of the corners and facets of gears and chrome strips or fades indistinctly into bails of office papers that have been squished into abstract forms.<br /><br />Sascha Mallon’s drawings are personal and metaphoric with a focus on love, pleasure, longing, reflections on body and passion. The source of her inspiration are daydreams mixed with reality, which she transforms into visual fairytales. Her works expand on her interest in life, the end of life and transitions. The narratives she creates are filled with strong memories and feelings; they are visual poems full of meaning.<br /><br />Melissa 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.<br /><br />Ross Racine creates his hyper-real suburban landscapes with a uniquely developed drawing method combining the languages of drawing and digital imaging. The importance of color varies greatly from image to image, as some images are saturated, some have subdued tints, and some revert back to pure gray scale. The decisions about color are made as each image evolves during the process of creation, and its final form is meant to reinforce a particular mood that matches the character of the landscape.<br /><br />Ken Ragsdale, Memories and personal 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.<br /><br />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.<br /><br />Emily Roz uses addition and omission to morph segmented botanical shapes into incongruous bodily juxtapositions. In browns, pinks and orange, the sexualized forms hover on a white gessoed background of negative space. Roz’s compositions exist in a void. The permutations are fluid and re-embodied to infer figuration.<br /><br />Patricia Smith is known for her idiosyncratic cartographic explorations of the psyche and mental states, Smith incorporates new outer and inner geographical regions in her latest works. Smith's mappings are not exclusively anchored in external geography. Often 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.<br /><br />Joanne Ungar , Joanne Ungar’s background in collage arts transitioned into her current process works when she began working with wax in the 1990’s. This current series began as a "packaging" double entendre: it was a way to address and explore feelings about the cosmetics industry and her own involvement in it.<br /><br />Edie Winograde captures the temporal relationships between past and present through landscape photography and unstaged photographs taken in American national parks and monuments throughout the United States. These photographs expose the mundane moments and often unnoticed coincidences that occur to travelers and tourists against the backdrop of grandeur that is the American "Wilderness."</span>Unknownnoreply@blogger.comtag:blogger.com,1999:blog-6312263558568025663.post-8673727387133755892017-05-28T13:05:00.001-07:002017-05-28T13:05:30.467-07:00<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgPNXaMQX9hlxvDMhZ2GuTph2-T6yraclt6-b7ZOBXu5i4bBnDkPnCDI5WixCJf-0B2OEvxvGE3DvF0Y3rSeeNyAK6e4I5cAqa3dg-lABeCmYwA6s5Z9HVNE0qUDTxpvJOc-IT6XEPUyaPS/s1600/EmilyRoz_DoubleHeaded_Detail_23x27_HiRes.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="1067" data-original-width="1600" height="213" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgPNXaMQX9hlxvDMhZ2GuTph2-T6yraclt6-b7ZOBXu5i4bBnDkPnCDI5WixCJf-0B2OEvxvGE3DvF0Y3rSeeNyAK6e4I5cAqa3dg-lABeCmYwA6s5Z9HVNE0qUDTxpvJOc-IT6XEPUyaPS/s320/EmilyRoz_DoubleHeaded_Detail_23x27_HiRes.jpg" width="320" /></a></div>
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<br class="Apple-interchange-newline" /><span style="background-color: white; color: #4b4f56; font-family: 'Helvetica Neue', Helvetica, Arial, sans-serif; font-size: 14px; line-height: 18.76px; text-align: start;">Happy Hour with the Artist</span><br style="background-color: white; color: #4b4f56; font-family: 'Helvetica Neue', Helvetica, Arial, sans-serif; font-size: 14px; line-height: 18.76px; text-align: start;" /><br style="background-color: white; color: #4b4f56; font-family: 'Helvetica Neue', Helvetica, Arial, sans-serif; font-size: 14px; line-height: 18.76px; text-align: start;" /><span style="background-color: white; color: #4b4f56; font-family: 'Helvetica Neue', Helvetica, Arial, sans-serif; font-size: 14px; line-height: 18.76px; text-align: start;">Wednesday, June 7th 5-7PM</span><br style="background-color: white; color: #4b4f56; font-family: 'Helvetica Neue', Helvetica, Arial, sans-serif; font-size: 14px; line-height: 18.76px; text-align: start;" /><br style="background-color: white; color: #4b4f56; font-family: 'Helvetica Neue', Helvetica, Arial, sans-serif; font-size: 14px; line-height: 18.76px; text-align: start;" /><span style="background-color: white; color: #4b4f56; font-family: 'Helvetica Neue', Helvetica, Arial, sans-serif; font-size: 14px; line-height: 18.76px; text-align: start;">Join us for an "Afterglow" Happy Hour with the artist, Emily Roz Wednesday June 7th, from 5-7PM.</span><br style="background-color: white; color: #4b4f56; font-family: 'Helvetica Neue', Helvetica, Arial, sans-serif; font-size: 14px; line-height: 18.76px; text-align: start;" /><br style="background-color: white; color: #4b4f56; font-family: 'Helvetica Neue', Helvetica, Arial, sans-serif; font-size: 14px; line-height: 18.76px; text-align: start;" /><span style="background-color: white; color: #4b4f56; font-family: 'Helvetica Neue', Helvetica, Arial, sans-serif; font-size: 14px; line-height: 18.76px; text-align: start;">A special sunset viewing of her solo exhibition of paintings with signature "Afterglow" cocktails</span></div>
<br />Unknownnoreply@blogger.comtag:blogger.com,1999:blog-6312263558568025663.post-43346068565837866462017-05-06T13:35:00.003-07:002017-05-06T13:38:31.922-07:00<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh7sg1S9DRrCEc6oq8TvG2xmVCoZE_-48w9qGuprVqQ3I7ft23F9QJ1I6Tf4xitljcHpmD2XbwzazZcngkFCVENlRLQSiXB2CJmXYlhzqIiiSVHk91uza7uvTVLZFnsgnzmy-dIvtRyGPEY/s1600/EmilyRoz_HipHole_23x27_HiRes.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="248" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh7sg1S9DRrCEc6oq8TvG2xmVCoZE_-48w9qGuprVqQ3I7ft23F9QJ1I6Tf4xitljcHpmD2XbwzazZcngkFCVENlRLQSiXB2CJmXYlhzqIiiSVHk91uza7uvTVLZFnsgnzmy-dIvtRyGPEY/s320/EmilyRoz_HipHole_23x27_HiRes.jpg" width="320" /></a></div>
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<br />EMILY ROZ: AFTERGLOW<br />May 19 - June 11, 2017<br />OPENING RECEPTION: Friday, May 19th 7-9PM</blockquote>
<br /><br />The Front Room is proud to present Emily Roz’s “Afterglow,” her 4th solo exhibition with the gallery. Roz is known for her (sometimes lurid) hyper-detailed oil paintings and drawings depicting scenes from nature. Her macroscopic paintings referencing the seed-pods from the Southern Magnolia fruit pods titillate and tantalize. In her new paintings, Emily Roz embraces the perverse. Biomorphic forms push up against each other, spill over and attempt to penetrate, taking an equal opportunity approach to inexact body parts.<br /><br /><br />Beginning with observational drawing, Roz uses addition and omission to morph segmented botanical shapes into incongruous bodily juxtapositions. In browns, pinks and orange, the sexualized forms hover on a white gessoed background of negative space. Roz’s compositions exist in a void. The permutations are fluid and re-embodied to infer figuration. Loaded up with bulbous volume and lush texture, the incongruous shapes resemble flesh and muscle and bones. The intentionally charged ambiguity leaves the innuendo open to uninhibited interpretation. <br /><br /><br />Emily Roz received an MFA in Fiber from Cranbrook Academy of Art and a BA from Hampshire College where she studied Art History, Literature and Weaving. She has been covered in The New York Times, New York Magazine, Time Out New York, The Village Voice, The Washington Post, Joy Quarterly, W+G Williamsburg News + Art, Apollo Magazine, The Brooklyn Rail and NewCity Chicago. She has exhibited nationally and internationally, including Front Room Gallery, Mulherin, Auxiliary Projects, Parlour, and 31Grand in New York; Decatur Blue in Washington DC; NUDASHANK in Baltimore; articule in Montreal; Gardenfresh in Chicago, Franklin Street Works in Connecticut and The Kohler Art Center in Sheboygan, Wisconsin.<br /><br /><br />Front Room Gallery • 48 Hester Street• NYC, NY 10002 • 718-782-2556 • <br />Unknownnoreply@blogger.comtag:blogger.com,1999:blog-6312263558568025663.post-80756924110046115572017-03-18T09:02:00.000-07:002017-03-18T09:04:33.873-07:00Thomas Broadbent, "Phylum" Inaugural Exhibition at Our New Location<div class="separator" style="clear: both; text-align: center;">
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<strong>PHYLUM </strong></blockquote>
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a solo exhibition of new works by:</blockquote>
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<strong>Thomas Broadbent</strong></blockquote>
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March 19th - April 9th</blockquote>
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<strong>Inaugural Reception: </strong></blockquote>
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Friday March 24th, 7-9PM</blockquote>
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<span style="background-color: #cccccc; color: #3d3d3d; font-family: "arial" , "helvetica" , sans-serif; font-size: 11px;">Join us for an opening reception of Thomas Broadbent's exhibition, "Phylum" and the grand opening of our new location in Manhattan's Lower East Side at 48 Hester Street (on the corner of Ludlow)</span><br />
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<span style="color: #3d3d3d; font-family: "arial" , "helvetica" , sans-serif; font-size: 11px;">Front Room Gallery is proud to present a solo exhibition of new paintings by Thomas Broadbent. In the exhibition “Phylum.” Broadbent’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. </span></span><br />
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<span style="color: #3d3d3d; font-family: "arial" , "helvetica" , sans-serif; font-size: 11px;">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’s birds are rendered sensitively with a naturalist’s eye for detail often in conjunction with objects such as stacks of books, Modernist furniture, and ladders. </span></span><br />
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<span style="color: #3d3d3d; font-family: "arial" , "helvetica" , sans-serif; font-size: 11px;">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. His beautifully rendered astrological bodies might question the core of our existence, our evolution as a planet. Or perhaps they are simply representations of massive physical objects reverently painted in black and white lit by starlight with deep dark shadowy craters. Like all of Broadbent’s endeavors the answers are not that cut and dried.</span></span><br />
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<span style="color: #3d3d3d; font-family: "arial" , "helvetica" , sans-serif; font-size: 11px;">Broadbent has shown extensively throughout the U.S. as well as internationally. Broadbent’s work won the Pulse Prize for best solo booth at Pulse Art Fair. His work was subsequently featured in “Mission to Space” at the Children’s Art Museum in Manhattan. His work is in the permanent collection of the National Museum of Wildlife Art. Broadbent’s numerous solo exhibitions include the Visual Art’s Center of New Jersey, Croxhapox Gallery (Gent, Belgium) Voorkamer Gallery (Lier, 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.</span></span><br />
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Front Room Gallery • 48 Hester Street • NY, NY 10002 • 718-782-2556</blockquote>
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gallery hours: Wednesday- Sunday 1-6PM</blockquote>
Unknownnoreply@blogger.comFront Room Gallery: 48 Hester St, New York, NY 10002, USA40.7155643 -73.99046609999999240.715188299999994 -73.991096599999992 40.7159403 -73.989835599999992tag:blogger.com,1999:blog-6312263558568025663.post-75201049917171244382016-11-23T09:29:00.002-08:002016-11-23T09:39:32.921-08:00Brunch with the Artist, Sunday December 4th at 2PM<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiKWoV4sVwIShEF1fvMmyxHwvpJH8XascZQDWFnd4n0coy1QpmfkklxJqbE7JX6nE7ugTtcj9_qI28Y5CkSkbeM8jFxlqJb3jBFNiCPI8nF_isVh1RJExMkqFyWnTakBcXMzOZdXm4ebOgd/s1600/upcoming_lambert.jpg" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" height="400" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiKWoV4sVwIShEF1fvMmyxHwvpJH8XascZQDWFnd4n0coy1QpmfkklxJqbE7JX6nE7ugTtcj9_qI28Y5CkSkbeM8jFxlqJb3jBFNiCPI8nF_isVh1RJExMkqFyWnTakBcXMzOZdXm4ebOgd/s400/upcoming_lambert.jpg" width="400" /></a></div>
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<b>Join us for Brunch with the artist, Jesse Lambert - Sunday, December 4th at 2PM. </b></div>
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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.</div>
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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.</div>
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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.</div>
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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.</div>
Unknownnoreply@blogger.comtag:blogger.com,1999:blog-6312263558568025663.post-76526237982903861102016-10-14T08:57:00.000-07:002016-10-14T08:58:07.598-07:00The 4rd Quadrennial: The Ballot Show<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh0W00RjLgeb8paEWLBph4Um5_9DlRmhRe1jg-iTd7v5JNvMhy-wz9gWgTrdmYYR7Gxl8XzoEQY11qPxsuu-rHGVkqq8Iwgv2-EsQNcQgBfW8GyQ1QFeghO7Ph1RkChcHiHV5zkbpp4cvQU/s1600/Ballot.IMAGE.EMAIL.jpeg" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh0W00RjLgeb8paEWLBph4Um5_9DlRmhRe1jg-iTd7v5JNvMhy-wz9gWgTrdmYYR7Gxl8XzoEQY11qPxsuu-rHGVkqq8Iwgv2-EsQNcQgBfW8GyQ1QFeghO7Ph1RkChcHiHV5zkbpp4cvQU/s320/Ballot.IMAGE.EMAIL.jpeg" width="296" /></a></div>
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<tr><td><span class="textblk" style="font-family: "verdana" , "arial" , "helvetica" , sans-serif; font-size: 12px; line-height: 15px;"><b><br /><br />The Front Room Presents<br />The 4rd Quadrennial:</b><br />The Ballot Show<br /><b>October 14th-23th, 2016<br />Opening Reception: Friday Oct 14th 7-9<br />Viewing hours: Fri-Sun 1-6 and by appointment</b><br /><br />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.<br /><br />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.<br /><br />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!!</span></td></tr>
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Unknownnoreply@blogger.comBrooklyn, NY, USA40.6781784 -73.944157940.4854094 -74.266881399999988 40.8709474 -73.6214344tag:blogger.com,1999:blog-6312263558568025663.post-69146924963937997042016-05-26T11:25:00.000-07:002016-05-26T11:25:18.323-07:00Summer Sampler, A Front Room Favorite<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjvvTLgwvLx6NdYpfw5aj6BuzM2aU81UMgggnAq6rQkMDsB27olvumENuu5Y9_aSaYVck6Dv4hTf05NSmmToCne9_ADJpwIqbLHXAZTnDeGv5jt0D8vTfcyDikp6dEK75kgxfvBA7LJ5xSE/s1600/FRsummersampler2016Montage.jpeg" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" height="173" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjvvTLgwvLx6NdYpfw5aj6BuzM2aU81UMgggnAq6rQkMDsB27olvumENuu5Y9_aSaYVck6Dv4hTf05NSmmToCne9_ADJpwIqbLHXAZTnDeGv5jt0D8vTfcyDikp6dEK75kgxfvBA7LJ5xSE/s400/FRsummersampler2016Montage.jpeg" width="400" /></a></div>
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<b class="">“Summer Sampler, A Front Room Favorite”</b></div>
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<b class="">June 10th – August 7th</b></div>
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<b class="">Opening Reception Friday, June 10th 7-9PM</b></div>
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<i class="">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.</i></div>
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<b class="">"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.</b></div>
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<b class="">Amanda Alic</b></div>
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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. </div>
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<b class="">Nancy Baker</b></div>
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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.</div>
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<b class="">Sasha Bezzubov and Jessica Sucher</b></div>
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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".</div>
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<b class="">Thomas Broadbent</b></div>
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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.</div>
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<b class="">Phillip Buehler</b></div>
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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. </div>
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<b class="">Peter Fox</b></div>
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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. </div>
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<b class="">Sean Hemmerle</b></div>
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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.</div>
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<b class="">Amy Hill</b></div>
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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.</div>
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<b class="">Jesse Lambert</b></div>
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Jesse Lambert's abstracted optical grounds are built of color washes that integrate linear fragmented figurations in dreamlike environments.</div>
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<b class="">Sascha Mallon</b></div>
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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.</div>
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<b class="">Stephen Mallon</b></div>
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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.</div>
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<b class="">Mark Masyga</b></div>
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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. </div>
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<b class="">Walker Pickering</b></div>
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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.</div>
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<b class="">Melissa Pokorny</b></div>
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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. </div>
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<b class="">Ross Racine</b></div>
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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.</div>
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<b class="">Ken Ragsdale</b></div>
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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.</div>
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<b class="">Paul Raphaelson</b></div>
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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.</div>
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<b class="">Emily Roz</b></div>
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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.</div>
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<b class="">Patricia Smith</b></div>
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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.</div>
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<b class="">Mark Stilwell</b></div>
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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.</div>
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<b class="">Joanne Ungar</b></div>
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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. </div>
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<b class="">Julia Whitney Barnes</b></div>
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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.</div>
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<b class="">Edie WInograde</b></div>
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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.</div>
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Unknownnoreply@blogger.comtag:blogger.com,1999:blog-6312263558568025663.post-56671384391228142672016-05-19T14:13:00.001-07:002016-05-19T14:13:56.298-07:00Closing Brunch with the Artist Amy Hill - Young and Innocent Exhibition<div class="separator" style="clear: both; text-align: center;">
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<span style="background-color: #cccccc;"><span style="color: #4b4f56; font-family: helvetica, arial, sans-serif; font-size: 14px; line-height: 18.76px;">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! <a href="https://www.facebook.com/events/646560555495620/#">Click here</a> for the link to the Facebook event.</span><br style="color: #4b4f56; font-family: helvetica, arial, sans-serif; font-size: 14px; line-height: 18.76px;" /><br style="color: #4b4f56; font-family: helvetica, arial, sans-serif; font-size: 14px; line-height: 18.76px;" /><span style="color: #4b4f56; font-family: helvetica, arial, sans-serif; font-size: 14px; line-height: 18.76px;">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. </span><br style="color: #4b4f56; font-family: helvetica, arial, sans-serif; font-size: 14px; line-height: 18.76px;" /><br style="color: #4b4f56; font-family: helvetica, arial, sans-serif; font-size: 14px; line-height: 18.76px;" /><span style="color: #4b4f56; font-family: helvetica, arial, sans-serif; font-size: 14px; line-height: 18.76px;">In updating these paintings, Hill has depicted urban children decorated by logos, tattoos, piercings, drugs and d</span><span class="text_exposed_show" style="color: #4b4f56; display: inline; font-family: helvetica, arial, sans-serif; font-size: 14px; line-height: 18.76px;">igital 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.<br /><br />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.<br /><br />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, <a href="http://l.facebook.com/l.php?u=http%3A%2F%2FArtinfo.com%2F&h=mAQHE1PZ-&enc=AZP6ieR2Kwc-KjQsH61pdPHBglF8egrGVod9e3Q9K8VAXHw15W-b_A_6imx93ldGRZQ&s=1" rel="nofollow nofollow" style="color: #365899; cursor: pointer; text-decoration: none;" target="_blank">Artinfo.com</a>, and Cover Magazine, as well as other national and international publications. She currently lives and works in New York.</span></span>Unknownnoreply@blogger.comtag:blogger.com,1999:blog-6312263558568025663.post-64138643376643602912016-04-20T14:57:00.001-07:002016-04-20T14:58:34.769-07:00Thomas Broadbent @ Art Cosmos group exhibition @ Salomon Arts Gallery<div class="separator" style="clear: both; text-align: center;">
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<span style="background-color: white; color: #4e5665; font-family: "helvetica" , "arial" , sans-serif; font-size: 14px; line-height: 18.76px;">Opening Reception: Friday, April 22nd, 7-9 pm</span></h3>
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<span style="background-color: white; color: #4e5665; font-family: "helvetica" , "arial" , sans-serif; font-size: 14px; line-height: 18.76px;">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. </span><br />
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<span style="background-color: white; color: #4e5665; font-family: "helvetica" , "arial" , sans-serif; font-size: 14px; line-height: 18.76px;">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. </span><br />
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<span style="background-color: white; color: #4e5665; font-family: "helvetica" , "arial" , sans-serif; font-size: 14px; line-height: 18.76px;">Featuring international artists:</span><br />
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<span style="background-color: white; color: #4e5665; font-family: "helvetica" , "arial" , sans-serif; font-size: 14px; line-height: 18.76px;">Thomas Broadbent</span><br />
<span style="background-color: white; color: #4e5665; font-family: "helvetica" , "arial" , sans-serif; font-size: 14px; line-height: 18.76px;">Den Marino</span><br />
<span style="background-color: white; color: #4e5665; font-family: "helvetica" , "arial" , sans-serif; font-size: 14px; line-height: 18.76px;">Artem Mirolevich</span><br />
<span style="background-color: white;"><span style="color: #4e5665; font-family: "helvetica" , "arial" , sans-serif; font-size: 14px; line-height: 18.76px;">Igor Molochevski</span><span class="text_exposed_show" style="color: #4e5665; display: inline; font-family: "helvetica" , "arial" , sans-serif; font-size: 14px; line-height: 18.76px;"><br />Peter Patchen<br />Eva Petric<br />Felix Rodewaldt<br />Igor Vishnyakov<br />Aleksander Vulakh<br /><br />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.<br /><br />RSVP: artcosmos2016@gmail.com<br /><br />ArtCosmos 2016<br /><a href="http://l.facebook.com/l.php?u=http%3A%2F%2Fwww.artcosmos.net%2F&h=LAQFzsAdw&enc=AZPSxLr_yz5xa1NdAq0jazkU7quaHM-YxLt-IxgMxqiUyhwbaU3aFIs7jSjXJ4iRJZo&s=1" rel="nofollow nofollow" style="color: #3b5998; cursor: pointer; text-decoration: none;" target="_blank">www.artcosmos.net</a><br /><a href="http://www.facebook.com/artcosmosfair" rel="nofollow" style="color: #3b5998; cursor: pointer; text-decoration: none;">www.facebook.com/<wbr></wbr><span class="word_break" style="display: inline-block;"></span>artcosmosfair</a><br /><a href="http://www.instagram.com/artcosmosfair" rel="nofollow nofollow" style="color: #3b5998; cursor: pointer; text-decoration: none;" target="_blank">www.instagram.com/<wbr></wbr><span class="word_break" style="display: inline-block;"></span>artcosmosfair</a><br /><br />ArtCosmos<br />Salomon Arts Gallery<br />83 Leonard St.,<br />New York, NY, 10013</span></span>Unknownnoreply@blogger.comtag:blogger.com,1999:blog-6312263558568025663.post-18789091523118689002016-04-20T13:35:00.001-07:002016-04-20T13:36:54.971-07:00Amy Hill "Young and Innocent" Solo Exhibition<div class="separator" style="clear: both; text-align: center;">
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<b><span style="font-size: x-large;">Amy Hill</span></b></h2>
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“Young and Innocent”</h3>
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April 15<sup>th</sup> – May 22<sup>nd</sup>Opening Reception: Friday, April 15<sup>th</sup>, 7 – 9 pm</h4>
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Front Room Gallery is proud to present a solo exhibition of
new paintings by the artist Amy Hill entitled “Young and Innocent.” <o:p></o:p></div>
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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. <o:p></o:p></div>
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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. <br />
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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.<o:p></o:p></div>
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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.<o:p></o:p></div>
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For inquiries, please contact Front Room Gallery: <a href="mailto:k@frontroom.org">k@frontroom.org</a>, 718-782-2556<o:p></o:p></div>
<br />Unknownnoreply@blogger.comtag:blogger.com,1999:blog-6312263558568025663.post-57345849920594451932016-04-02T12:34:00.000-07:002016-04-07T05:21:44.594-07:00Melissa Pokorny (ways of) Exhibition Closing Brunch<div class="separator" style="clear: both; text-align: center;">
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhW0a3_A1rl1u4JQXOht5SG7RB9bhdPQjwKWGWD7skcI_6V7FLKXyMJJpOrVOonw-obEe2WQ1QEE3I2qkGR6VGxvqNq4zdD0xNsFW6kbSaRsy6LTXPf27NoQhvWf2WZFxXdz5ozuyBqy64O/s1600/m+pokorny+installation+shot+3.JPG" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="240" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhW0a3_A1rl1u4JQXOht5SG7RB9bhdPQjwKWGWD7skcI_6V7FLKXyMJJpOrVOonw-obEe2WQ1QEE3I2qkGR6VGxvqNq4zdD0xNsFW6kbSaRsy6LTXPf27NoQhvWf2WZFxXdz5ozuyBqy64O/s320/m+pokorny+installation+shot+3.JPG" width="320" /></a></div>
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<span style="color: #4e5665; font-family: "helvetica" , "arial" , sans-serif; font-size: 14px; line-height: 18.76px;">Join us on April 10th at 3pm for a closing brunch for Melissa Pokorny's (ways of) show! </span></span><br />
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<span style="background-color: #cccccc; color: #4e5665; font-family: "helvetica" , "arial" , sans-serif; font-size: 14px; line-height: 18.76px;">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.</span><br />
<span style="background-color: #cccccc;"><br style="color: #4e5665; font-family: helvetica, arial, sans-serif; font-size: 14px; line-height: 18.76px;" /></span>
<span style="background-color: #cccccc; color: #4e5665; font-family: "helvetica" , "arial" , sans-serif; font-size: 14px; line-height: 18.76px;">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.</span><br />
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<span style="background-color: #cccccc; color: #4e5665; font-family: "helvetica" , "arial" , sans-serif; font-size: 14px; line-height: 18.76px;">We hope to see you there!</span><br />
<span style="background-color: #cccccc; color: #4e5665; font-family: "helvetica" , "arial" , sans-serif; font-size: 14px; line-height: 18.76px;"><i><a href="https://www.facebook.com/events/274233519575019/"><br /></a></i></span>
<span style="background-color: #cccccc; color: #4e5665; font-family: "helvetica" , "arial" , sans-serif; font-size: 14px; line-height: 18.76px;"><i><a href="https://www.facebook.com/events/274233519575019/">Click here to be directed to the Facebook event</a></i></span>Unknownnoreply@blogger.comtag:blogger.com,1999:blog-6312263558568025663.post-65056401716449202892016-03-25T11:14:00.000-07:002016-03-25T11:14:35.720-07:00Melissa Pokorny (ways of) Exhibition Tour<iframe width="410" height="315" src="https://www.youtube.com/embed/xCTj1mPvyjM" frameborder="0" allowfullscreen></iframe>
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Join us for a walk through of Melissa Pokorny's exhibition currently on view at the Front Room Gallery.<br />
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(ways of) on view through April 10th<br />
Front Room Gallery<br />
147 Roebling Street<br />
Brooklyn, NY 11211<br />
718-782-2556<br />
<br />
Front Room is pleased to present fifteen new works by 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.<br />
<br />
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.<br />
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<br />
Odilon Redon referred to his oeuvre as an “ambiguous realm of the undetermined.” This work also favors undetermined spaces, and between-ness.<br />
<br />
Pokorny's new works, in this exhibition, negotiate ways of being, ways of knowing, and ways of looking. They are composed of multivalent shapes, engagements, relational entanglements, and collapsed temporalities.<br />
<br />
Pokorny has been an exhibiting artist for over twenty years. Her large scale, assemblage-based sculptural works have been widely exhibited at venues across the US. Recent solo shows at Platform Gallery in Seattle and Front Room Gallery in New York augment a long career of solo exhibitions, beginning with Gallery Paule Anglim, in San Francisco and continuing with Bodybuilder and Sportsman in Chicago. Selected group exhibitions include venues such as Yerba Buena Gardens, Southern Exposure, Victoria Room, and New Langton Arts in San Francisco, Foodhouse Gallery in Los Angeles, Gallery 400, Columbia College,The James Hotel, and Devening Projects +Editions in Chicago, and The Richard Peeler Art Center at Depauw University, in Greencastle, Indiana. Her work is held in collections at Orange County Museum of Art, the Berkeley Art Museum and Pacific Film Archive, the Richard L. Nelson Museum at UC Davis, San Francisco Museum of Modern Art, and the Richard Peeler Art Center at Depauw University.FrontRoomhttp://www.blogger.com/profile/14347543503352581884noreply@blogger.comtag:blogger.com,1999:blog-6312263558568025663.post-17790438843449551782016-03-12T13:22:00.000-08:002016-03-12T13:40:47.510-08:00(ways of): Melissa Pokorny<div class="separator" style="clear: both; text-align: center;">
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgM2pEC1MfCUSKqDKW312jc25OROXZE5sSAcym2GuuvlEQ2Wzbz0K-zglUx-aEvcOCurt2RX7pH9dXOP6Cw8ba_FaUeD_cli-WGXqv_4e7_DLxAYYsgfdzmV2kaGZJCtP89B6Jtm2E1Pcw/s1600/mpokorny.bluebubble.web.2016.jpg" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" height="387" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgM2pEC1MfCUSKqDKW312jc25OROXZE5sSAcym2GuuvlEQ2Wzbz0K-zglUx-aEvcOCurt2RX7pH9dXOP6Cw8ba_FaUeD_cli-WGXqv_4e7_DLxAYYsgfdzmV2kaGZJCtP89B6Jtm2E1Pcw/s400/mpokorny.bluebubble.web.2016.jpg" width="400" /></a><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhquB9Sieqz3UsbaVOMk6duNdwmjbCfC4Q02i37v5RYICJuTGxXAQbEhZlmznXL79ycwx0Qi6VAGyc9HtV1tfj5-fd4rtwfabNbWmyzj_E5A9kJR9wbuW23U6twH5isMbsl119eRl2Tv-M/s1600/mpokorny.asabovesobelow.web.2016.jpg" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" height="387" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhquB9Sieqz3UsbaVOMk6duNdwmjbCfC4Q02i37v5RYICJuTGxXAQbEhZlmznXL79ycwx0Qi6VAGyc9HtV1tfj5-fd4rtwfabNbWmyzj_E5A9kJR9wbuW23U6twH5isMbsl119eRl2Tv-M/s400/mpokorny.asabovesobelow.web.2016.jpg" width="400" /></a><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgSmTzm_97c-gC_yR9vF64J9p_vmPlVYnoEFOPL6zBwoaVBrLa6pmwad_FV-IhZOzapZxbUkusXANQEIFPKYv4MUWiUR_1DNOB4rtXopyPjID5p5ouHF6aLhNxmYjLMpTsCXEshep1CRQc/s1600/mpokorny.dorothy.web.2016.jpg" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" height="386" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgSmTzm_97c-gC_yR9vF64J9p_vmPlVYnoEFOPL6zBwoaVBrLa6pmwad_FV-IhZOzapZxbUkusXANQEIFPKYv4MUWiUR_1DNOB4rtXopyPjID5p5ouHF6aLhNxmYjLMpTsCXEshep1CRQc/s400/mpokorny.dorothy.web.2016.jpg" width="400" /></a></div>
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<br />FrontRoomhttp://www.blogger.com/profile/14347543503352581884noreply@blogger.comtag:blogger.com,1999:blog-6312263558568025663.post-58799823040363924892016-03-12T12:56:00.000-08:002016-03-12T13:04:11.268-08:00Thomas Broadbent wins the 2016 New York PULSE Prize!<span class="Apple-style-span" style="border-collapse: separate; border-spacing: 0px; font-family: "helvetica";"><br /></span>
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<span style="font-family: "arial" , "helvetica" , sans-serif;"><i>Thomas Broadbent in front of "The Challenger Craters"</i></span></div>
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<span style="font-family: "helvetica";"><b>We are thrilled to announce that Thomas Broadbent has won the 2016 New York PULSE PRIZE!</b></span></div>
<span class="Apple-style-span" style="border-collapse: separate; border-spacing: 0px; font-family: "helvetica";"><br />Awarded by a jury, the PULSE PRIZE is a grant which is given to an artist of distinction exhibiting a the fair.</span><br />
<span class="Apple-style-span" style="border-collapse: separate; border-spacing: 0px; font-family: "helvetica";"><br />Of Broadbent's work, PRIZE Juror Anthony Haden-Guest told artnet News "Most art, especially at art fairs, looks a whole lot like other art. Thomas Broadbent's work absolutely stood out for me."</span><br />
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<span class="Apple-style-span" style="border-collapse: separate; border-spacing: 0px; font-family: "helvetica";">Read about his work on <a href="https://news.artnet.com/art-world/pulse-prize-2016-thomas-broadbent-442280" target="_blank">Artnet.</a></span>FrontRoomhttp://www.blogger.com/profile/14347543503352581884noreply@blogger.comtag:blogger.com,1999:blog-6312263558568025663.post-40043154343035243762015-06-12T14:40:00.003-07:002015-06-12T14:53:12.877-07:00Stephen Mallon Featured in Wired Magazine<div class="separator" style="clear: both; text-align: center;">
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<br />FrontRoomhttp://www.blogger.com/profile/14347543503352581884noreply@blogger.comtag:blogger.com,1999:blog-6312263558568025663.post-72941856709534238892015-06-04T14:00:00.000-07:002015-06-04T14:01:53.036-07:00The Super Defense Force vs the Titanno Beasts (The Fall of Skytopia) Performance<div style="color: #222222; font-family: arial, sans-serif; font-size: 13px;">
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<span style="border-collapse: collapse;"><b>The Super Defense Force vs the Titanno Beasts (The Fall of Skytopia)</b></span></div>
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<span class="aBn" data-term="goog_1613854685" style="border-bottom-color: rgb(204, 204, 204); border-bottom-style: dashed; border-bottom-width: 1px; position: relative; top: -2px; z-index: 0;" tabindex="0"><span class="aQJ" style="position: relative; top: 2px; z-index: -1;">Sunday, June 21st at 8PM</span></span></div>
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<span style="border-collapse: collapse;"><b>The Super Defense Force vs the Titanno Beasts (The Fall of Skytopia)</b> is part of an on going series of collaborative multimedia performances involving live experimental music, shadow puppets, and Japanese pop culture inspired giant monsters and robots doing battle amongst luxury condominium city sets. The narrative of the performance involves a a super squad of military robotic defenders that do battle against a global giant monster epidemic. Max Salvo, the supreme commander of the Super Defense Force and Kungra, the evil master mind of the Titanno Beasts make dueling television proclamations that drive the narratives but also hint at themes of apocalyptic anxieties, militarism, terrorism and expanding class disparities. </span></div>
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<span style="border-collapse: collapse;">This performance series is conceived by Mark Stilwell, with themes developed by a team of collaborators, live music performed by Brian Olin, Kevin </span>Kozak and Mark Gonzalez.</div>
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<span style="border-collapse: collapse;">The performers and collaborators include:</span></div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhmCX7L2i4cc85Necn3-w_piNSMwLqSZJ3W1cu0FPZOJws8WtJWsnoGCNdTa4wjg2h7hxlFeCeYtTi9fVcKKvB6xdT5Xcw20TNa0McG0lbGK4UuQAkdmnaTs1tvnKCu4MTrSd_eyTGyYnM/s1600/markstill+2.jpg" imageanchor="1" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em;"><img border="0" height="400" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhmCX7L2i4cc85Necn3-w_piNSMwLqSZJ3W1cu0FPZOJws8WtJWsnoGCNdTa4wjg2h7hxlFeCeYtTi9fVcKKvB6xdT5Xcw20TNa0McG0lbGK4UuQAkdmnaTs1tvnKCu4MTrSd_eyTGyYnM/s400/markstill+2.jpg" width="291" /></a><span style="border-collapse: collapse;">John, </span><span style="border-collapse: collapse;">Nicte-ha </span><span style="border-collapse: collapse;">and JR Bernstein </span></div>
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<span style="border-collapse: collapse;">Angleo Roldan</span></div>
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<span style="border-collapse: collapse;">Chris Paisley </span></div>
<div style="color: #222222; font-family: arial, sans-serif; font-size: 13px;">
<span style="border-collapse: collapse;">Ethan Crenson</span></div>
<div style="color: #222222; font-family: arial, sans-serif; font-size: 13px;">
<span style="border-collapse: collapse;">Yoko Stilwell</span></div>
<div style="color: #222222; font-family: arial, sans-serif; font-size: 13px;">
<span style="border-collapse: collapse;">Brian Olin</span></div>
<div style="color: #222222; font-family: arial, sans-serif; font-size: 13px;">
<span style="border-collapse: collapse;">and Mark Stilwell</span></div>
<div style="color: #222222; font-family: arial, sans-serif; font-size: 13px;">
<span style="border-collapse: collapse;"><br /></span></div>
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FrontRoomhttp://www.blogger.com/profile/14347543503352581884noreply@blogger.comtag:blogger.com,1999:blog-6312263558568025663.post-72718278801917661952015-05-04T11:42:00.000-07:002015-05-04T11:43:31.570-07:00Sonic Front Performance at Front Room Gallery for Williamsburg Second Friday<img height="145" src="webkit-fake-url://a7ff7f63-f8c2-4b86-b8ae-bf39ec5cbb03/image.tiff" width="400" /><br />
<br />
<div class="MsoNormal" style="margin-left: 21.3pt;">
<span lang="EN-GB"><span style="font-size: large;"><span style="background-color: white;"><b>sonic</b><span style="color: #999999;">front</span></span><b> at Front Room
Gallery </b><br /><b>
147 Roebling Street Williamsburg, Brooklyn</b><br /><b>
Friday, May 8th 8-10PM</b><br />
</span><a href="http://www.frontroom.org/"><span style="color: windowtext; text-decoration: none; text-underline: none;"><b><span style="font-size: large;">http://www.frontroom.org</span></b><br />
</span></a><br /><b>
INSECT ARK<br />
SEYHAN MUSAOGLU<br />
THE SENSORIUM SAXOPHONE ORCHESTRA</b><br />
<br />
sonic front is an exploration of electro-acoustic improvisation,
electronic music, and sound art.<o:p></o:p></span></div>
<div class="MsoNormal" style="margin-left: 21.3pt;">
<span lang="EN-GB"><b>ARTIST
BIOGRAPHIES</b><o:p></o:p></span></div>
<div class="MsoNormal" style="margin-left: 21.3pt;">
<span lang="EN-GB"><b><br /></b></span></div>
<div class="MsoNormal" style="margin-left: 21.3pt;">
<span lang="EN-GB"><b>INSECT ARK</b> started
as a the one-woman solo project of bassist/multi-instrumentalist Dana
Schechter. Formed in late 2011, Insect Ark has been building a following in the
experimental/doom/drone scene in both her hometown of NYC and internationally.<o:p></o:p></span></div>
<div class="MsoNormal" style="margin-left: 21.3pt;">
<span lang="EN-GB">Starting in Jan
2015, San Francisco-based drummer Ashley Spungin (Taurus) joined on drums and
synthesizers. Schechter will perform solo when Spungin is on the west coast.<o:p></o:p></span></div>
<div class="MsoNormal" style="margin-left: 21.3pt;">
<span lang="EN-GB">Creating a
personal soundtrack to the human psyche’s underbelly, Insect Ark weaves a
brooding, textural landscape, a starless night spiked with light and flash. The
music braids together delay-drenched lapsteel, drums, distorted bass &
synths to create a sonic mural both uncomfortably intimate and icy cold.<o:p></o:p></span></div>
<div class="MsoNormal" style="margin-left: 21.3pt;">
<span lang="EN-GB">Schechter has a
history working with other projects, notably as bassist in M. Gira’s Angels of
Light (Swans) and her own band Bee and Flower. Spungin is known for her work
with Portland based bands Taurus and Purple Rhinestone Eagle. Schechter is also
an animator and video artist working in the film business by trade.<o:p></o:p></span></div>
<div class="MsoNormal" style="margin-left: 21.3pt;">
<span lang="EN-GB">Insect Ark’s
first full-length album, “Portal/Well” will be released on CD with
Autumnsongs Records, June 2015.<br />
Previous releases include the 10” Vinyl EP “Long Arms” (2013, Geweih Ritual
Documents) and the 7” Vinyl “Collapsar” (2012, Lancashire and Somerset
Records).<o:p></o:p></span></div>
<div class="MsoNormal" style="margin-left: 21.3pt;">
<span lang="EN-GB">On these first
three releases, Schechter played and recorded all the instruments in her
Brooklyn studio.<o:p></o:p></span></div>
<div class="MsoNormal" style="margin-left: 21.3pt;">
<span lang="EN-GB">The new duo
incarnation of Insect Ark recorded their first single together, “Windless”, to
be released as a lathe cut 7" for Utech Records and will be touring in
June 2015 in support of Portal/Well.<o:p></o:p></span></div>
<div class="MsoNormal" style="margin-left: 21.3pt;">
<span lang="EN-GB"><br /></span></div>
<div class="MsoNormal" style="margin-left: 21.3pt;">
<span lang="EN-GB"><span style="color: orange;"><a href="http://www.insectark.com/"><span style="text-decoration: none;">www.insectark.com</span></a><br />
<a href="https://www.facebook.com/InsectArk"><span style="text-decoration: none;">www.facebook.com/InsectArk</span></a></span><o:p></o:p></span></div>
<div class="MsoNormal" style="margin-left: 21.3pt;">
<span lang="EN-GB">Insect Ark Photo
Credit: Caroline Harrison<o:p></o:p></span></div>
<div class="MsoNormal" style="margin-left: 21.3pt;">
<span lang="EN-GB"><br /></span></div>
<div class="MsoNormal" style="margin-left: 21.3pt;">
<span lang="EN-GB"><b>SEYHAN MUSAOGLU </b>is
a multi-media artist whose work spans the fields of live performance, sound
art, film and video, and 2-D media. Drawing inspiration from diverse sources
ranging from science fiction imagery, to fashion, to modern dance choreography,
her work investigates the gap between sound production and music composition,
contemporary feminist theory, and the history of avant-garde filmmaking. She
has been performing widely with collaborations celebrated internationally in
genres of sound and experimental noise. She is also an innovative independent
curator, and is the founder of the multi-purpose art space SPACE DEBRIS. Seyhan
holds an MFA from Parsons the New School for Design. Some of the venues her
work has been presented at are: The Kitchen (NYC), New York Studio Gallery
(NYC), Lit Lounge (NYC), Curta 8 Film Festival (Brazil), and Istanbul’s famed venue,
Babylon.<o:p></o:p></span></div>
<div class="MsoNormal" style="margin-left: 21.3pt;">
<span lang="EN-GB">THE SENSORIUM
SAXOPHONE ORCHESTRA formed in 2008 as NYC's first full-on Saxophone
Orchestra. Since then, SENSORIUM has enchanted NYC audiences at Douglas Street
Music Collective, Goodbye Blue Monday, Issue Project Room, Brooklyn Lyceum,
Gershwin Hotel, Shea Stadium, House of Elders, White Box Gallery, 17 Frost
Gallery, Midtown Manhattan Library, Spectrum, The Front Room Gallery and The
WAH Center.<o:p></o:p></span></div>
<div class="MsoNormal" style="margin-left: 21.3pt;">
<span lang="EN-GB">Their unique
single-timbre take on Terry Riley's minimalist classic "In C" is
available on Living Records, Wayside Music (Cuneiform Records), and Downtown
Music Gallery. The Pulse was provided by a Snare Drum rather than the
traditional Piano Pulse, suggested by Roger Miller. The orchestra performed IN
C numerous times including at the Midtown Manhattan Library without a Pulse.<o:p></o:p></span></div>
<div class="MsoNormal" style="margin-left: 21.3pt;">
<span lang="EN-GB"><br /></span></div>
<div class="MsoNormal" style="margin-left: 21.3pt;">
<span lang="EN-GB">"...a
haunting dissonant swoon like that of battling church organs, or a swarm of
bugs."<br />
- Village Voice, Christopher Weingarten, 2009<o:p></o:p></span></div>
<div class="MsoNormal" style="margin-left: 21.3pt;">
<span lang="EN-GB"><br /></span></div>
<div class="MsoNormal" style="margin-left: 21.3pt;">
<span lang="EN-GB"><span style="color: orange;"><a href="http://www.benmiller.info/SSO.html"><span style="text-decoration: none;">http://www.benmiller.info/SSO.html</span></a><br />
<a href="http://www.sensoriumsaxophone.com/"><span style="text-decoration: none;">http://www.sensoriumsaxophone.com/</span></a><br />
<a href="https://www.facebook.com/pages/Sensorium-Saxophone-Orchestra/277106168999578?ref=hl"><span style="text-decoration: none;">https://www.facebook.com/pages/Sensorium-Saxophone-Orchestra/277106168999578?ref=hl</span></a></span><o:p></o:p></span></div>
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FrontRoomhttp://www.blogger.com/profile/14347543503352581884noreply@blogger.comtag:blogger.com,1999:blog-6312263558568025663.post-85799311270516508612015-05-04T11:16:00.000-07:002015-05-04T11:16:37.953-07:00Sasha Bezzubov: "The Republic of Dust" on view through May 17<br />
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<b><span style="font-size: x-large;">Sasha Bezzubov: The Republic of Dust</span></b><br />
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<a href="webkit-fake-url://52db86ac-b1a2-490a-a057-4cfa453d4b6c/image.tiff" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" height="320" src="webkit-fake-url://52db86ac-b1a2-490a-a057-4cfa453d4b6c/image.tiff" width="252" /></a><b style="font-family: verdana, arial, helvetica, sans-serif; font-size: 12px; line-height: 16px;"><span class="textblk" style="line-height: 15px;">April 17th-May 17th, 2015<br />Viewing hours: Fri-Sun 1-6 and by appointment</span></b><span style="background-color: #999999; font-family: verdana, arial, helvetica, sans-serif; font-size: 12px; line-height: 16px;"> </span><br />
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<span style="background-color: #cccccc;"><span style="font-family: verdana, arial, helvetica, sans-serif; font-size: 12px; line-height: 16px;">The Front Room Gallery is proud to present "The Republic of Dust," a solo exhibition of new photographs by the artist, Sasha Bezzubov. "The Republic of Dust" is a series of landscapes and portraits of foreigners and locals who coexist in the threatened environment of the Republic of Gabon's rainforest region: a microcosm of global trade and its ruinous effects.</span><br style="font-family: verdana, arial, helvetica, sans-serif; font-size: 12px; line-height: 16px;" /><br style="font-family: verdana, arial, helvetica, sans-serif; font-size: 12px; line-height: 16px;" /><span style="font-family: verdana, arial, helvetica, sans-serif; font-size: 12px; line-height: 16px;">Bezzubov, known for his previous work addressing such subjects as global warming and natural disasters continues his investigation into the impact of humanity's interaction with the natural environment. His photo- graphs, shot with a large format view camera (8x10" and 5x7") are so sharp the dried soil caking the fern leaves on the Gabonese road seems to flake off onto the floor before ones very eyes.</span><br style="font-family: verdana, arial, helvetica, sans-serif; font-size: 12px; line-height: 16px;" /><br style="font-family: verdana, arial, helvetica, sans-serif; font-size: 12px; line-height: 16px;" /><span style="font-family: verdana, arial, helvetica, sans-serif; font-size: 12px; line-height: 16px;">Bezzubov's photographs capture the beauty of the landscape and the massive upheaval caused by the extraction industries (such as timber, rubber, manganese, among other national resourcesgatheredfromtheforestand the land) on the tropical forests in the Republic of Gabon, considered one of the worlds most precious ecosystems.</span></span><br />
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<a href="webkit-fake-url://232c4594-f5a7-4a68-a968-ae601f219f13/image.tiff" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" height="315" src="webkit-fake-url://232c4594-f5a7-4a68-a968-ae601f219f13/image.tiff" width="400" /></a><span style="background-color: #cccccc;"><span style="font-family: verdana, arial, helvetica, sans-serif; font-size: 12px; line-height: 16px;">In Bezzubov's photographs one can see the rainforest is now crisscrossed by logging roads that cut deep into the interior. The dust created in the wake of passing trucks, which cart enormous trees to the port, covers everything in sight. The rainforest turns deep red as the trucks leave behind clouds of dust. This dust settles on plants, smothering them and transforming their natural greens with an industrial concoction of red glow. </span><br style="font-family: verdana, arial, helvetica, sans-serif; font-size: 12px; line-height: 16px;" /><br style="font-family: verdana, arial, helvetica, sans-serif; font-size: 12px; line-height: 16px;" /><span style="font-family: verdana, arial, helvetica, sans-serif; font-size: 12px; line-height: 16px;">In Bezzubov's Gabonese portraits an unlikely mix of locals and foreigners coexist in this forest, often with great tension. There are Gabonese villagers and indigenous Pygmies, migrant workers from neighboring countries, European technicians working in extracting industries, Chinese laborers, drug tourists, and a motley crew of conservationists, scientists, activists that come together in resource rich regions of the developing world. </span><br style="font-family: verdana, arial, helvetica, sans-serif; font-size: 12px; line-height: 16px;" /><br style="font-family: verdana, arial, helvetica, sans-serif; font-size: 12px; line-height: 16px;" /><span style="font-family: verdana, arial, helvetica, sans-serif; font-size: 12px; line-height: 16px;">Bezzubov is a two-time recipient of the Fulbright Scholarship Award. His work has been included in numerous solo and group exhibitions including Tucson Museum of Art; Museum Belvedere, The Netherlands; Herter Art Gallery, University of Massachusetts; Wavehill, New York; New Orleans Museum of Art; and Museum of Fine Arts, Tallahassee. Bezzubov's first monograph Wildfire, was published in 2009 by Nazraeli Press. His work is in the permanent collections of the Metropolitan Museum of Art, the Museum of the City of New York and the Joy of Giving Something Foundation, among others. Bezzubov's work has appeared in the New York Times Magazine, Harper's, The Telegraph Magazine, Esquire, Newsweek, Art & Auction, and Details; and has received critical acclaim in The New Yorker, Freeze, The Village Voice, The Brooklyn Rail and Print. In 2012, The Sylvia Bongo Foundation invited Sasha Bezzubov to Gabon, Central Africa. "Republic of Dust" is a series of photographs that resulted from this experience. Bezzubov received a MFA in Photography from Yale University in 1997. He lives in Brooklyn, New York. </span><br style="font-family: verdana, arial, helvetica, sans-serif; font-size: 12px; line-height: 16px;" /><br style="font-family: verdana, arial, helvetica, sans-serif; font-size: 12px; line-height: 16px;" /><span style="font-family: verdana, arial, helvetica, sans-serif; font-size: 12px; line-height: 16px;">The Front Room Gallery is located at 147 Roebling Street in Williamsburg Brooklyn. Gallery hours are Friday-Sunday 1-6PM and by appointment. Press contact: Daniel Aycock 718-782-2556</span></span><br />
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FrontRoomhttp://www.blogger.com/profile/14347543503352581884noreply@blogger.comtag:blogger.com,1999:blog-6312263558568025663.post-14106720576818128602015-04-11T11:40:00.002-07:002015-04-11T11:42:39.039-07:00Ken Ragsldale: "The Hundred Acre Wood" Closing Brunch and Artist TalkJoin 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.<br />
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Ken Ragsdale: The Hundred - Acre Wood<br />
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On view through April 12th<br />
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Artist Talk Sunday, April 12th 4PM<br />
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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.<br />
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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.FrontRoomhttp://www.blogger.com/profile/14347543503352581884noreply@blogger.comBrooklyn, NY, USA40.6781784 -73.944157940.4854094 -74.266881399999988 40.8709474 -73.6214344tag:blogger.com,1999:blog-6312263558568025663.post-14056152006565895632015-03-28T15:00:00.001-07:002015-03-28T15:00:17.117-07:00Ken Ragsdale: The Hundred - Acre Wood<div class="separator" style="clear: both; text-align: center;">
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<span style="font-family: Arial, Helvetica, sans-serif;"><span style="font-size: x-large;">Ken Ragsdale: The Hundred - Acre Wood</span> </span><br />
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<span style="font-family: Arial, Helvetica, sans-serif;">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. </span><br />
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<span style="font-family: Arial, Helvetica, sans-serif;"> 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. </span><br />
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<span style="font-family: Arial, Helvetica, sans-serif;"><i>“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.”</i> -Ken Ragsdale </span></div>
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<span style="font-family: Arial, Helvetica, sans-serif;">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.</span>FrontRoomhttp://www.blogger.com/profile/14347543503352581884noreply@blogger.comtag:blogger.com,1999:blog-6312263558568025663.post-91709595867003620322015-02-20T13:16:00.001-08:002015-02-20T13:28:12.857-08:00Mark Masyga "Lost Horizon" Exhibition Opens Friday, February 20th<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjr3vSklVXX8kqGemI-h2sszqefF-03o-VYU1FlkV0v3-HxmqHfpatoniocdqbKGluGqrFrMyuGDCqOOauplk2z3tZGsprAdYOyc0bhNlaizbPA43sO-UNVbh-lwEeF3Uxhncprvw7hkrk/s1600/mmasyga.PhonyBowlofVegas.jpg" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjr3vSklVXX8kqGemI-h2sszqefF-03o-VYU1FlkV0v3-HxmqHfpatoniocdqbKGluGqrFrMyuGDCqOOauplk2z3tZGsprAdYOyc0bhNlaizbPA43sO-UNVbh-lwEeF3Uxhncprvw7hkrk/s1600/mmasyga.PhonyBowlofVegas.jpg" height="252" width="320" /></a><br />
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<b>Mark Masyga: Lost Horizon</b></div>
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February 20th - March 15th</div>
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<i>Opening Reception: Friday February 20th, 7-9pm </i></div>
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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.</div>
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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.</div>
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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.</div>
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<b><br /></b>FrontRoomhttp://www.blogger.com/profile/14347543503352581884noreply@blogger.comFront Room Gallery40.7142021 -73.95757079999998516.3106301 -115.26616479999998 65.1177741 -32.648976799999986