Anagnorisis Picks | June
Welcome to June, everyone.
I’m very proud to announce that I
have two exhibitions opening in this lurverly summer month. One even has my own artwork in a show this month. Go figure. Bushwick is also having its open studio weekend. More details here.
As usual, I’ll add to this post if I learn of something new for June (submissions welcome). Follow the links in the headers below for details on each show.
All about me:
Samantha Levin’s “Never Empty, Never Bare (Anthropomorph II)”
Artist David Hochbaum has generously curated one of my larger works into his upcoming exhibition with the Guild of the Black Eagle. This exhibition will be the fifth iteration of the guild and the first one in a gallery (they’ve shown at art fairs and artist studios before). I’m honored to be included in this show with this extraordinary roster of female artists:
Kristen Ferrell, Danielle de Picciotto, Annie Kyle, Samantha Levin, Philly Abe, Evelyn Tiernan, Gabriela Vainsencher, Alison Silva, Sara Gage, Zoe Williams, Allison Berkoy and Elka Amorim
Buddy Nestor’s latest portrait of Kat Gun, in progress
Zahzo is a new gallery located in Manhattan that has a very strong interest in the grotesque, which just tickles me dark.
Please come support us at our new space on June 22nd, 7pm in celebrating our first exhibition. The lineup is stunning: Jeremy Hush, Paul Romano, Buddy Nestor, Dan Ouellette, David Hochbaum, Ivan Lee Mora, Marcus Poston, Caitlin Hackett, Seldon Hunt, Cam de Leon, Yuri Leonov and Carrie Ann Baade. In the curator’s corner: Benjamin Parkes and yours truly.
I thought I’d publish the in-progress shot of Buddy Nestor’s newest painting he’s recently finished for this show. It provides some wonderful insight into his working process as well as showing off how good he is with his portraits. The finished work will be published soon. If you are interested in purchasing something from this show, give me a holler.
More details to come.
Lucian Freud’s “Dead Monkey”
Unfortunately there are only a few more days to see this exhibition of Freud’s drawings. For some insight on the exhibition, there’s an interesting review of the show on Hyperallergic.
Alex Pardee's Tu'Mor or Not Tu'Mor
Want to be disgusted silly? Well, here you go. ’nuff said.
Well, OK, here’s more info lifted directly from the Cotton Candy site:
Alex Pardee’s unique style is one conceived through watching years of horror movies, writing graffiti, and listening to gangster rap. His work best represents that of a vibrant undead circus sideshow. Final pieces are often brought to life by translating random shapes and colors into signs of torment and absurdity. By juxtaposing these two conflicting moods, Alex makes his works more personal to his viewers, forcing them to project their own feelings and emotions onto each character in his twisted universe.
Join us for an Interactive Art and Game Show featuring all new Paintings and hosted by Alex Pardee! Also featuring all your favorite Zerofriends merchandise!
This madness opens on June 8th.
And, by the way, the Candy Machine is doing another Trifecta next month with three tiny pieces from various artists all going for $100 a pop. Hopefully the line won’t keep everyone stuck on the sidewalk again this year. Remember: last year no one bought the Chet Zar until long after the show opened, so this is a fantastic chance to get original artwork from your favorite artists at a very low price!
Carrie Ann Baade’s “The Bride Stripping the Bachelors Bare”
Evinced by this exhibition, seemingly much of the artists we feature here on Anagnorisis are delving (or being categorized) into the Visionary art genre. I still prefer to consider them to be the Contemporary Grotesque, but I’ll take this label too. The grotesque tends to be cathartic and redemptive, forcing those who view it to look inward and dig in our own spiritual dirt. Regarding what genre we’re all wallowing in, however, it all comes out in the wash in the end; the history books of our future will probably make up some new name altogether for all of this.
June 22 July 12 to September 15th (forgive me, but I found out about this date change only very recently), this exhibition explores a small sampling of the Visionary Art world. The artists involved are some of our favorites. Hope the gallery posts more info on the show soon. There’s nothing there right now.
Visionaries includes an extraordinary survey of talent spanning from the mid 20th century to the present. Among those artists included in this survey are: Carrie Ann Baade, Ernst Fuchs, H.R. Giger, Adam Scott Miller, Leo Plaw, De Es Schwertberger, Heidi Taillefer, Roberto Venosa, Peter Gric, Martina Hoffman, Brigid Marlin, and Madeline von Foerster. Curated by Olga Spiegel, France Garrido and Miguel Tio.
Martin Wittfooth’s “Warden”
According to Stephen Diamant, President of Arcadia Gallery, Sur-Realism is a collection of works by “skilled painters that are creating exciting, contemporary representational painting that does not deserve to be categorized [into the Lowbrow or Realism] genres.” Thus, here we have yet another advocate supporting the notion that this Lowbrow and Pop Surreal artwork we love needs to be recognized as a separate entity. He also states:
Sur-Realism was created to be a showcase for painters who are all technically very gifted, but have chosen to stray away from what is considered “contemporary, classical realism.” It seems that recently when a painter says they are a “realist” many collectors and galleries tend to think that the artist is either creating works that are more classical in nature which seems to be what all the ateliers and private studios are teaching or imagery that could be lumped into the “Lowbrow” category. And while technique and skill are essential, there are so many artists who are deliberately trying to have their work “look old and academic” or “edgy/disturbing” and places their works in one category or the other.
The exhibition opens on Saturday, June 16th with a reception from 4 to 6 pm and continues through the 30th.
Missed the opening, but still on view:
Jessica Joslin’s “Almeria and Alonia”
Talking about moving our grotesque artists into a more visible arena, Jessica Joslin’s current show has her in the same room as some of the most famous artists working today. Whether you like their work or not is beside the point; this exhibition puts Jessica’s work into a new arena. Personally, I’m a fan of much of what’s on view.
The subject of the show is interesting:
The word alone – haberdashery – conjures vintage clothiers the likes of Beau Brummell, whose tailored trousers and neat cravats helped to revolutionize menswear in 19th century England. Tailcoats, top hats and walking sticks were de-rigueur for the proper dandy in Brummell’s world, but few could sustain the cost of such fashionable accoutrements.
The Haberdashery plays off of the concept of high-end men’s clothiers [that] casts an eye toward men’s finery, celebrating the milliner, tailor, cobbler and malletier, as well as the goods and associative meanings that their work engenders. Brummell himself, undone by gambling debts and high living, spent the end of his life on the lamb in France, attempting to avoid debtor’s prison. Such style – indeed,such a lifestyle – would not have been possible without the haberdasher, who pampered and polished the 1% of his day.
I’m not sure I like what this exhibition is celebrating: who is the haberdasher of our day? The artists?
The line up: Donald Baechler, Bast, Libby Black, Nick Cave, Willie Cole, David Colman, Jim Dine, Anh Duong, Dzine, Phillip Estlund, Gilbert and George, Kara Hamilton, Jessica Joslin, Tseng Kwong Chi, David Lachapelle, Greg Lauren, Charles LeDray, McDermott & McGough, Ryan Metke, Maynard Monrow, Garrett Pruter, Retna, Shelter Serra, Vadis Turner, Nari Ward, Mark Wilson, Erwin Wurm and Rob Wynne.
Nick Baxter’s “Hand of God” Chris Peters’s “Near the Window”
These two solo exhibitions are just the right ones to remind you of your mortality in the most spiritual ways. Peters’s memento mori utilize the all too familiar skull to ponder death (and life after), while Baxter goes into a new exciting realm, touching upon the closeness to death we can get while putting all our faith into our surgeons who hope to extend our lives on Earth. One painting would have been enough for me to explore this avenue, but there’s nothing wrong with having “fun” with a good thing, right?
This show just opened up on Saturday the 2nd, so it will be around for a while, but call the gallery ahead of time before going there. I tried to view Last Rites’ previous shows (Billy Norrby: The Fury and Matt Rota: City Of The Dead) slated to close on the 21st of May, but was greeted with a locked door. Someone came down to let me in, but I found that the gallery was in the midst of hanging Paul Booth’s work for a short exhibition to last only one weekend. This short show was a repeat of his solo exhibition at the H.R. Giger Museum that just came down in March. I had a nice surprise, but I was seriously disappointed to miss Norby and Rota.
July 7th – August 11th, 2012
“Taboo”: Beinart Surrealist Collective group show
Alternate City Envy:
Cam de Leon’s “Stasis”
Cam is one of my favorite artists working in the Contemporary Grotesque genre. His works are grotesque, but intelligently and surrealistically explorative, tapping directly into the dream-mind. Every time I look at his work, my mind delves into new directions. Nucleus has a sweet poetic statement about the show:
Despite ever-present affliction, things have turned suddenly to stillness, resulting in a sense of perfect tranquility. Dark times preceded and certain still to come, but this moment is a glimmer of something greater. Divided forces become one within a state of sublime stasis.
Nucleus is honored to showcase the work of acclaimed artist Cam de Leon, the first solo showing of the artist’s original paintings at the gallery.
I had the honor of showing Cam’s first oil painting back in 2009. So well painted and framed, it was the star of the show. When I can, I visit the person who bought it from me so I can witness it again. If you’re near Nucleus, I highly suggest you stop over.
It’s hard for Jason’s work not to astound. Bring your monocles to this one: most of Jason’s drawings are tiny and those that are not are super-detailed.
Jason D’Aquino is a miniaturist. The majority of his works are minute and meticulously detailed graphite renderings on vintage matchbook and other found surfaces. White hilites [sic] are introduced using watercolor undiluted with a single hair brush. The search for these found “canvases” has led him to strange corners of the world and to some unique treasures. He recently unearthed a hand-quilled, illustrated whaling manuscript from St. Petersburg Russia, which made its way to Christie’s auction house in New York City.
“The matchbook was a canvas I fell in love with because it carries with it a universally recognizable built-in scale reference. Often collectors will first encounter my work through a blog or magazine article, and this makes it difficult to effectively convey scale…but once they see the matches, they can put the whole thing quickly in context. I also love the matchbook because it is a nostalgic, gritty, cheap little souvenir. I enjoy taking such a worthless surface and turning it into a coveted piece of art,” states D’Aquino.