Opening: March 8th 6 – 9pm
Radiator Gallery, Long Island City, NY
Artists: Pedro Barbeito, Eve K. Tremblay, John Gerrard, Jack Henry, Kati Vilim, Karlis Rekevics, Christopher Saunders
Curator: Alan Lupiani
The group show “So Real” reflects on the aesthetics and conflicting past relationships between Social Realism art of the West and Socialist Realism art of twentieth century Eastern Europe and the Soviet Union.The words “subjective” and “official” are paramount in describing the differences between both art movements. Western Social Realism has been described as a “subjective” art form that allows for freedom to express unfavorable narratives. In contrast, Soviet Socialist Realism, Western Social Realism’s evil first cousin, has been described as an official, absolute, oppressive, and state-sanctioned art form that denies subjective interpretation.
Similarly, recent global instability concurrent to the transfer of power from old regimes to new has cast a fresh light upon the “subjective” vs. “official” narrative. As heads of state draft legislation to address a multitude of geo-political and economic challenges, inherent conflicts undoubtedly arise between balancing personal freedoms and protecting the state against general chaos, terror, and/or complete collapse.
“So Real” explores these incongruities by exhibiting a group of artworks which suggest the possibility for creating a new genre of socio-political hyperrealities. In addition, the artworks serve as “provocateur” in the form of compressed psychologically charged narratives. Taken one step further, the works function on a plane of personal protest, challenging the sustainability of past and present day utopian constructs.
Lastly, “So Real” alludes to new beginnings in the aftermath of failure, death, and destruction by the inclusion of brutalist inspired sculpture and architectural forms. This “clean slate” segue provides an entry point to explore alternative socio-political models which may provide pathways to discover possibilities for future growth and progress.
Radiatorarts | 10-61 Jackson Ave, Long Island City, NY 11106
January 12 – February 23, 2013
Glenn Horowitz Bookseller, East Hampton, NY
Opening Reception Saturday January 12, 6-8pm
Glenn Horowitz Bookseller is pleased to announce The Long Now, a solo exhibition of recent works by Brooklyn based artist Christopher Saunders, opening January 12, 2013 and on view through February 23rd. A reception for the artist will be held on January 12, 6-8pm.
Born and raised in rural Virginia, the artist’s childhood backdrop has been a point of departure for his paintings for over 15 years. Culling photography from the Internet, media and his personal archives, Saunders’ merges these materials to explore the relationships between traditional landscape painting and contemporary consciousness. “They are slow works” the artist states, often taking up to a year to complete. “They are slow by the nature of production and they are intended to be slow as objects of contemplation.”
Glenn Horowitz Bookseller winter hours: Friday – Monday, 11-5pm and by appointment.
Please contact firstname.lastname@example.org for further information
Whitenoise no.4 is the cover art for The Memory of Place by Dylan Trigg
It gives me a special sort of pleasure to announce that The Memory of Place is now out through all the usual outlets. As is customary with these things, it is invariably the author who is the last to receive a physical copy of the book. This publication is no different. (I would expect it to be stock in the Eurozone anyday now.) Luckily, Tim Morton has been able to verify the empirical existence of the book and has written a glowing first impression.
Big up to Tim for that. Now we just need to get Tim’s scale adopted as the way to review academic books. I appreciate also that he picks up on the relation between place and the weird, which is a theme throughout the book, even – or especially – when the book is dealing with such innocuous places as Brooklyn supermarkets and motorway service stations.
I’m pleased to be able to confirm the material existence of the book. It arrived this morning and is a joy to behold. Christopher Saunders’ fine painting on the cover has come out splendidly.
Posted by Dylan Trigg
Solid Air (2009) is the cover art for new Mozart Parties 7 “
* artwork by Christopher Saunders
“BLACK CLOUD”, DEBUT SINGLE BY MOZART PARTIES RELEASED OCTOBER 31 ON 7”/DIGITAL
Release Date: 31st October 2011
A.1 – Black Cloud
B.1 – Raining At The Crossraods
Limited to 300 copies – PRE-ORDER
Very excited to announce the release of “Black Cloud”, the debut single by Mozart Parties, aka Lake District-based artist James Bennett.
‘Black Cloud’ tip-toes beautifully between despair and ecstasy, poignant introspection and atmospheric wash, the feeling of confinement finding release in unbridled rhythmic joy, the sound of youth and ambition coming through a rainy, remote wilderness.
Die Like You Really Mean It (group show)
Curated by Paul Brainard and Frank Webster
October 26 – December 03, 2011
Allegra LaViola Gallery
179 East Broadway
New York, NY 10002
T: 917 463 3901
Featuring the work of:
Erik Benson, Paul Brainard, Pia Dehne, Hiroyuki Hamada, Elizabeth Huey, Erika Keck, Emily Noelle Lambert, Frank Lentini, Eddie Martinez, Brian Montouri, Bryan Osburn, Kanishka Raja, Erika Ranee, Tom Sanford, Christopher Saunders, Kristen Schiele, Ryan Schneider, Oliver Warden, Frank Webster, Eric White and Doug Young
Allegra La Viola Gallery is pleased to present Die Like You Really Mean It, a group exhibition on view from October 26 – December 7. The exhibition is curated by artists Paul Brainard and Frank Webster and features new paintings and sculpture by over twenty artists living in the New York metro area.
The curators have assembled an energetic and dynamic show, where each work registers as a highly charged expression of the individual artist. Brainard and Webster have maintained a special interest in choosing works that register not as intentionally ironic but rather as sincerely and at times viscerally rendered. This exhibition celebrates painting as a healthy, living, and variegated mode of art making in New York.
The works included in this exhibition are often resistant to purely formalist and conceptual concerns, engaging themes that extend beyond the material media of painting. Figurative and scenic elements may invite narrative readings while color is used forcefully, liberally, or selectively. The expressive qualities of color among the works range widely from Oliver Warden’s transformative explosions of color, to Hiroyuki Hamada’s restrained, bi-chromatic capsule-like wall reliefs. Also of concern among the works is the relationship between the human being and its environment, exemplified by Erik Benson and Kristen Schiele’s depictions of inhabited indoor and outdoor settings, Pia Dehne’s complex compositions in which figure and ground are enmeshed through lyrical patterns of line and geometry, and Kanishka Raja’s use of pattern to unite various specific locations depicted in the same visual space.
Atypically, this show exalts in its contrasts. The works of Christopher Saunders and Brian Montouri could best sum this up. Saunder’s paintings are slick and calm on the surface but belie an unsettling and subversive content, while Montouri’s vision is a veritable disgorgement of expressionist storm and bluster. Each artist pushes the medium with equal passion, but in radically different directions, with starkly different results. This passion however is one thing all of the artists in Die Like You Really Mean It share in common.
—Paul Brainard, Kristen Lorello and Frank Webster