Jonathan Ferrara Gallery Info:

Tuesday, July 22, 2014

The New York Times features Gina Phillips for "State of the Art: Discovering American Art Now" Exhibition




Gina Phillips, Fort Dirt Hole, 2013, fabric, thread, ink and paint, 156" x 324"


Crystal Bridges Lines Up Emerging Artists for American Show
By RANDY KENNEDY  

After a restless cross-country search in which two curators logged more than 100,000 miles in airplanes and rental cars, the Crystal Bridges Museum of American Art – founded by the Walmart heiress Alice Walton – announced Tuesday that it had finalized its artist list for an ambitious fall show that will present a snapshot of unheralded 21st century American art.

To organize the exhibition, “State of the Art: Discovering American Art Now,” which will open at the museum, in Bentonville, Ark., on Sept. 13, the museum’s president, Don Bacigalupi, and an assistant curator, Chad Alligood, spent several months visiting the studios and homes of almost 1,000 artists, most of whom were not well known outside their cities or regions. The curators eventually selected 102 artists, and the show will include more than 200 paintings, photographs, sculptures, installations and performances spread through the museum’s temporary exhibition spaces and outdoor spaces and extending into the galleries of the permanent collection, which features works by American masters such as Asher B. Durand, Arthur Dove, Georgia O’Keeffe and Stuart Davis.

The artists chosen for the fall show range in age from 24 to 87; 54 are men and 48 are women. The geographic spread seems unlikely to provoke regional protests: 26 are from the West and Southwest; 27 from the Midwest; 25 from Texas and the South; and 24 from the East Coast.

The artists include Nathalie Miebach, based in Boston, whose works looks at intersections of art and science and renders meteorological events as sculpture; James Lavadour, a painter and printmaker who works on the Umatilla reservation in eastern Oregon and makes phantasmagoric landscapes; Monica Aissa Martinez, a painter in Phoenix who focuses on the inner workings of the body; and Gina Phillips, from New Orleans, whose work with fabric, thread and paint draws on imagery from Louisiana and rural Kentucky, where she was raised.

“The artists are responding to the same things we’re all responding to in our daily lives,” Mr. Alligood said. “We hope that this exhibition will inspire new ways to experience contemporary art and the evolving narratives that make up our cultural fabric.”


Monday, July 14, 2014

Generic Art Solutions Featured on Art Blart for LACMA Group Exhibition 'Fútbol: The Beautiful Game'


Generic Art Solutions, Pieta, 2009, archival print, 36" x 36"


On the eve of the World Cup – which, like the Olympics, takes place every four years – this exhibition celebrates football, the world’s game, and its richness as a field for metaphorical inquiry. Just as the World Cup brings together athletes and fans from around the globe, Fútbol: The Beautiful Game explores some of the ties that bind us as humans. Focusing on a simple game allows for a direct conversation about the communication and (more often) miscommunication that characterize our collective life, while celebrating one thing that most of the planet holds its breath for: the quadrennial event held to crown a nation as world champion of football. The sport has often been cited as a metaphor for nations, for cultures, and even for life, as is suggested by a statement attributed to the writer Albert Camus: “After many years in which the world has afforded me many experiences, what I know most surely about morality and obligations, I owe to football.” Camus believed that the simple rules governing the game often had more to teach us about life than did politicians and philosophers.

Fútbol: The Beautiful Game presents the work of more than 30 artists who address the game through its imagery, signs, symbols, and sounds while also touching on larger issues well apart from the field of play. These themes include masculinity and the construction of heroes; ritual and worship; marketing and power; and current political, social, and cultural phenomena.





David Buckingham Featured on Do 415 for New Solo Show 'Turn On Tune In Drop Out'


David Buckingham, ZWAK!, 2012, cut and welded found metal, 40" x 60" x 4"


Part sculpture, part assemblage, David Buckingham’s bold, provocative art begins in the California desert, where he scours remote landscapes for what he calls “beautiful, battered metal, material that’s had a previous life and the scars to prove it: old tractors, hay balers, cotton pickers, rice threshers, school buses.” Having hauled masses of rainbow-colored steel back to his Los Angeles studio, he cuts, welds, and wrestles the pieces into works often inspired by movies, advertising, and music. “For the most part, I mine my own psyche,” he has said. “Each piece is a bit of a self-excavation.”

Reminiscent of Pop art, Buckingham’s perpetually fresh, energetic work has an immediate impact on the viewer. It seems fitting that the discarded metal he scavenges in the desert, all of which originally formed some part of the American landscape—signage, vehicles, machinery used to grow food—is repurposed as art that so directly taps into the collective American unconscious. In his newest work, Buckingham, who worked in advertising in a former life, continues to expand on his playful, powerful motifs, with geometric abstractions recalling Op Art and color field painting, and vibrant wall sculptures shaped like pistols and iconic road signs.

Buckingham’s unconventional art education includes a stint at New York’s infamous Rivington School, which created guerilla sculpture gardens in the city, and where Buckingham took welding lessons from artist Ray “Cowboy” Kelly. He has exhibited his work extensively in the U.S. and abroad, including at California’s Riverside Art Museum and the Lancaster Museum of Art and History. His sculptures have been featured in an international advertising campaign for Wrangler Jeans, installed as public artwork on Santa Monica Boulevard in Los Angeles, and purchased by private collectors around the world.




Thursday, July 10, 2014

The Major Retrospective Exhibition 'Mel Chin: Rematch' Travels to Contemporary Art Museum St. Louis



The most expansive presentation of conceptual artist Mel Chin’s work to date, Rematch features approximately fifty works from the past forty years—including sculpture, video, drawing, painting, and rarely seen documentation of the artist’s public land art and performance works. The exhibition provides an overview of Chin’s complex and diverse body of work, stressing the collaborative nature of many of the artist’s endeavors and exploring his engagement with social justice and community partnerships.

Encompassing a wide variety of media, Chin’s work evades easy classification and often includes multi-disciplinary and cross-cultural teamwork. Chin frequently inserts art into unlikely places, including destroyed homes, toxic landfills, and even popular television shows, investigating how art can provoke greater social awareness and responsibility. Chin has also produced a body of sculpture and drawings steeped in the legacy of Dada and Surrealism. Rematch highlights the thematic strands that run throughout Chin’s broad range of subject matter, materials, and formal approaches. 

In addition to large-scale installations like The Funk and Wag from A to Z (2012)—a surrealist large-scale arrangement of collages culled from the Funk and Wagnalls encyclopedia—the exhibition includes examples of Chin’s intersections into the realm of popular culture and politics, including In the Name of the Place: GALA Committee (1995–97), for which Chin collaborated with the TV series Melrose Place to place socially engaged content into the show’s sets and props. Documentation of major land-based projects like The Earthworks: See/Saw (1976) will be on view, as well as ecological, science-based projects like Revival Field (begun in 1990), which played a seminal role in promoting the field of phytoremediation, or the use of plants in treating toxic soil. 

Rematch also features Chin’s recent venture, Operation Paydirt, and the accompanying Fundred Dollar Bill Project, begun in 2006 in New Orleans. These nationwide interdisciplinary projects generate thousands of children’s drawings in an effort to garner funding and support for the development of an effective national method of remediating lead-contaminated soil. They have led to collaboration with the Environmental Protection Agency and a major grant from the U.S. Department of Housing and Urban Development to scientists who are testing soil remediation methods in New Orleans. 

This summer and fall, CAM will participate in Operation Paydirt by partnering with local organizations to host a variety of related programs, including workshops on gardening, lead contamination, and soil remediation; discussions on socially engaged art practices; and Fundred Dollar Bill drawing workshops. CAM is also collaborating with the local Sunflower+ Project: StL team—winners of the 2012 Sustainable Land Lab competition—who are working to address issues of land vacancy and soil contamination in St. Louis. Sunflower + Project: STL leaders Don Koster of Washington University and Richard Reilly of the Missouri Botanical Garden will plant sunflowers—which remove soil contaminants—in the Museum’s courtyard, to bloom this fall.

Mel Chin (b. 1951, Houston, Texas) has had solo exhibitions at the Hirshhorn Museum and Sculpture Garden (1989), Walker Art Center (1990), The Menil Collection (1991), and Station Museum of Contemporary Art, Houston (2006). He has received numerous awards and grants from organizations such as the National Endowment for the Arts, New York State Council for the Arts, Art Matters, Creative Capital, the Penny McCall Foundation, the Pollock/Krasner Foundation, the Joan Mitchell Foundation, the Rockefeller Foundation, and the Louis Comfort Tiffany Foundation, among others. Chin received a Bachelors of Arts from Peabody College in Nashville, Tennessee. 



JFG Artists Nikki Rosato and Monica Zeringue to be Featured in the Contemporary Art Center of New Orleans' 'Mark of the Feminine' Exhibition

Monica Zeringue, Shewolf, 2012, graphite on primed linen, 31" x 41"

Nikki Rosato, Untitled (Self Portrait), 2013, hand cut road map, 16" x 16" x 14”


Curator Regine Basha’s Mark of the Feminine is the first in a series of exhibitions to be produced by the CAC focusing on the remarkable community of artists working in New Orleans. The 2014 exhibition, on view in the CAC’s Lupin Foundation Gallery from August 2 – October 4, 2014, features works by a selection of multigenerational female and female-identifying contemporary artists working in a variety of mediums.

The CAC thanks all of the talented artists who participated in this year’s submission process. Chosen from an outstanding pool of over 340 entries, the CAC is thrilled to announce the artists selected for this landmark exhibition:

Boyfriend
Jane Cassidy
Amanda Cassingham-Bardwell
Vanessa Centeno
Valerie Corradetti
Karen Edmunds
Alisha Feldman
Gabrielle Gaspard
Sharin Glasser
Ronna Harris
Cherice Harrison-Nelson
Lauren Hind
Local Honey
Susan Ireland
Hannah Joyce
Edna Lanieri
Kathleen Loe
Ariya Martin
Natalie McLaurin
Kristin Meyers
Cristina Molina
Armina Mussa
Nikki Rosato
Nina Schwanse & Sophie T. Lvoff
Jennifer Shaw
Connie Shea
Maxx Sizeler
Sarah Sole
Meg Turner
Mary Lou Uttermohlen
Carla Williams
Monica Zeringue

More information for each artist will be available in the upcoming weeks.

Curatorial Statement from Regine Basha

Putting out a call to New Orleans’s women artists to apply to Mark of the Feminine wasn’t necessarily meant to remedy a lack of visibility of female artists in New Orleans, but was meant to seek out and reaffirm the strength and diversity of women artists working in New Orleans at this time. It was my conviction that the women artists of this region are holders of culture and continuity and who thrive by a deep-seated resilience that ultimately makes New Orleans so singular in this country. It was important to also honor artists who are both embracing and/or questioning their femininity in individual ways that break open our stereotypes of what ‘feminine’ is as a quality. With this in mind, the call asked for participation from those artists who might identify as female or a female-in-transition and encouraged applying artists who wished to make their own positions known or more clear, to do so in their applications. Therefore, the Mark of the ‘Feminine’ is not necessarily a narrative theme show, or a feminist manifesto, but more like a question about the term itself, posed to the artists of New Orleans.

What becomes immediately evident in the work brought together for Mark of the Feminine, is how the vantage point of the ‘feminine,’ in its full spectrum, speaks to a timeless yet ever-evolving, set of greater human concerns affecting our society at large. Poignant reflections on loss, the complexities of motherhood, female stereotypes or marriage, encounters with violence and renewal, as well as explorations of sexuality and eroticism—are all explored with either poignant candor or insightful humor.

Mark of the Feminine purposefully mingles generations as well as the various genres of art-making. Vernacular craft and ritual-based work co-exists with newer emerging media in contemporary art, to offer a productive ‘contamination’ from one to another. This seemed relevant to how I viewed New Orleans’s art ecosystem in general. Some works are purely visionary and abstract while others—such as in photography—capture the grim social realism of local figures or street scenes. All in all the work is undoubtedly rooted in its place and context and engenders a kaleidoscopic view of artists committed to making work in New Orleans today.

About the Curator
Since 1993, Regine Basha has been curating innovative exhibitions for public institutions, civic spaces, magazines, and private galleries nationally and internationally.

Basha was born in Israel to Iraqi parents. She grew up in Montreal and Los Angeles; attended New York University and Concordia University (Studio Art and Art History); and graduated from Bard College, Center for Curatorial Studies’ inaugural class of 1996. She was adjunct curator to Arthouse in Austin, TX from 2002 – 2008 and ran the Art Gallery of the Saidye Bronfman Centre in Montreal from 1991 – 1995. 

Her exhibitions have received grant awards from The Andy Warhol Foundation, The Elizabeth Firestone Graham Foundation, and The National Endowment for the Arts as well as critical press in The New York Times, Artforum, Modern Painters, Art Papers, Wire, Bidoun, Art Lies, Artforum, and on NPR Radio. She currently sits on the board of Art Matters and Aurora Picture Show.





Adam Mysock Featured in the SØR Rusche Collection's Traveling Exhibition 'Golden Times: Live Images of the Baroque and Present'



Adam Mysock, Forever Looking Out, 2013 acrylic on panel, 5" x 5.9"
After Diego Velazquez's "An Old Woman Frying Eggs", from 1618



GOLDEN TIMES. LIVE IMAGES OF THE BAROQUE AND PRESENT. The collection SØR Rusche

27 September 2014 to 04 January 2015


Up to 400 years lie between the images in this exhibition, old Dutch paintings hang next to works by contemporary international artists. There are masterpieces of their time. Timeless other hand, this is what they represent: Human needs, social chasms, dreams and realities. The age difference of the images in this exhibition makes the show to an opulent experience for the eyes and loads one to reflect on the eternal Human Collection the Rusche family will be expanded for four generations with passion and connoisseurship. In addition to Dutch masters works, many internationally renowned contemporary artists are represented, including Neo Rauch, George Condo and Martin Eder.


Adam Mysock, At Arm's Length, 2013, acrylic on panel, 5" x 4"
After Hendrick ter Brugghen's "Heraclitus", from 1628