Nathan Mabry

Nathan Mabry
The Week of Kindness, 2011
Bronze, powder coated aluminum, paint
111.75 x 63 x 28 inches

Nathan Mabry’s work transforms the known into the new and the unexpected. Mabry engages with both art history and normative objects as readymades. A Duchampian trajectory is balanced by an art-making urge that springs from other early Modernists such as Brancusi, Lipchitz and Picasso, whose visual avarice led them to a range of “exotic” cultural material in an effort to create their own visual language.

Excerpt from the Cherry and Martin website.

Dreadful Sorry Clementine

Elisabeth Higgins-O'Connor's exhibition Dreadful Sorry Clementine takes its name from a children's nursery rhyme - the original being sing-songy and childish, but contrasted with dark, melodramatic lyrics. Elisabeth's work walks the line between familiarity and chaos. Working with commonly available materials such as bed sheets, bedding and other discarded domestic fabrics. Elisabeth's execution of the materials suggests both obsessive anxiety and wild abandon.

Excerpt from the Charlie James Gallery Press Release November 5 - December 17, 2011.

Trudy Benson

Trudy Benson Studio View

Trudy Benson
Inside Out, 2010
Oil on canvas
72 x 80 inches

Brooklyn based artist Trudy Benson just picked up by Mike Weiss Gallery in New York. I love this work.

KF + CM 4EVER

Keltie Ferris
!@#$%^&*()
2010
Oil, acrylic, oil pastel & sprayed paint on canvas
80x80"

Keltie's work is non-verbal, more like noise then language, more akin to flashing lights and potential energies then anything nameable. Therefore each painting is titled by a set of punctuation marks, such as (((!!!))) created by the artist and are emblematic of the emotive, nearly expletive nature of her work. Other titles (including the title of the show) allude to bathroom graffiti, notebook valentines, as well as the ambition of marking a space and marking a future.

Excerpt from the Horton Gallery Press Release November 18 - December 30, 2010.

Red, Yellow Blue

Portia Hein
Starry Night, 2010
Oil on canvas
48 x 36"

Portia Hein
Pastel forrest (PH10_15), 2010
Oil on canvas
36 x 48"

Portia Hein's newest paintings and drawings continue her translation of the natural world into a personally resonant language of marks, color and texture. Images of birds, trees and celestial bodies find themselves coalescing or breaking apart amidst rays of light, night skies and turpentine washes...Working largely from memory, Hein draws on the emotional as well as the physical attributes of place. Like memory, the surfaces of her paintings are varied. Some parts are thick, vibrant and richly textured, while others, like gaps in memory, are thinly painted and vaguely suggested rather than wholly depicted.

Excerpt from the Traywick Contemporary Press Release October 3 - December 18, 2010 .

Moonmilk

Ryan McGinley
Blood Falls, 2008/2009
C-print
66 x 101.6 cms / 26 x 40 ins

Alison Jacques Gallery announces the first UK solo show of acclaimed American artist Ryan McGinley with an exhibition of 24 new colour photographs shot in caves across North America. Over the last year, McGinley and his crew explored huge caves underground, venturing into unknown territory, seeking out spectacular natural spaces, some previously undocumented. The title of the show “Moonmilk” alludes to the crystalline deposits found on the walls of many caves; it was once believed that this substance was formed by light from celestial bodies passing through rock into darkened worlds below.

Excerpt from the Alison Jacques Gallery Press Release September 11 - October 8, 2009

Albert Oehlen

Albert Oehlen

Del ahorro, 2008
Oil and paper on canvas
106 1/4 x 122 inches

In this new group of works, Oehlen paints over, under and around Spanish advertisement posters. The original commercial content of the posters is undermined by Oehlen's reworking of those images as well as his juxtaposition of unrelated advertisements. His interest lies not in the manipulation of pop iconography, but rather in the unnerving emotional effects generated by its obtrusive presence. In contrast with previous work, the use of paint has been reduced, giving focus to the center of the composition and emphasizing the subtle interactions between the paint and the posters. These highly charged paintings eschew formal convention and ultimately advance the medium's function through the artist's continued practice of the deliberate negation of imagery.

Excerpt from the Luhring Augustine Exhibition, APR 25 - MAY 30, 2009

Albert Oehlen
Untitled, 2008
mixed media on paper
11.75" x 8.25"

Albert Oehlen is also exhibiting with Corbett vs. Dempsey in Chicago, May 14 - June 27, 2009