Tuesday, June 28, 2016
Friday, June 24, 2016
E2, Ode to Manet's Olympia, 2011, archival pigment print.
Exhibition Pick: “Art Hysterical”
BY MARICELA MURILLO
JUNE 24, 2016
Maricela Murillo visits an exhibition at Jonathan Ferrara Gallery that turns art history on its head.
JONATHAN FERRARA GALLERY
400A JULIA STREET
JUNE 1 - JULY 30, 2016
Stepping into “Art Hysterical” at Jonathan Ferrara Gallery, which was curated by the gallery’s director, Matthew Weldon Showman, feels at first like stepping into a European museum. Two groups of what, from afar, appear to be classic paintings are arranged salon-style across the flat white walls at the front of the gallery. But on closer inspection, the works reveal themselves to be surprising re-creations by artists who are currently based in New Orleans. In a group of photographs by E2 (Elizabeth Kleinveld and Epaul Julien), the artists transform the white men and women who traditionally look out blankly from dulled canvases. Now women of color stare defiantly into the viewer’s eyes, the subjects’ modern makeup contrasting sharply with their antiquated dresses. A black Olympia is tended to by her white servant, and, in another reversal, a man sits naked next to two women in suits in Ode to Manet’s Déjeuner sur l’herbe, 2011.
On the opposite wall, Generic Art Solutions (G.A.S.) have similarly taken art historical works and put them in a contemporary context. The Ecstasy of Saint Teresa, 2013, no longer features the holy figure dressed in flowing folds of fabric; she’s replaced by a homeless man, asleep or unconscious, about to be beaten by a police officer in uniform. G.A.S.’ work explicitly addresses issues plaguing the modern world such as wealth inequality and the abuse of authority.
In one painting, Rachel Burch Williams reimagines the Baroque motif of memento mori, which are reminders of death that painters included most notably in still lives. Nora See’s skeleton instead poses playfully at a windowsill with a cigarette. Adam Mysock’s works, all the size of paperback books, are painstaking copies of canonical American paintings—the only difference being the addition of a snow globe-like flurry of white falling from impossible places in the canvas. Edward Hopper’s Nighthawks café and Thomas Cole’s The Oxbow now have their own snowstorms. Overall, “Art Hysterical” stays true to its name—tipping the sometimes stuffy world of art history into the chaos of the 21st century.
Maricela Murillo is a rising junior at Tulane University. This past spring, she participated in Pelican Bomb’s internship program with local undergraduate students.
ADAM MYSOCK, The Beginning of a Long Distant Relationship, 2014, acrylic on panel, 4 x 6 inches
After: Edward Hopper's City Sunlight (1954) and an illustration by Ed Valigursky
The Cynthia Corbett Gallery Summer Exhibition | Gallery Artists & Showcase YOUNG MASTERS
Royal Opera Arcade Gallery
5B Pall Mall, St. James's, London, SW1Y 4UY
Exhibition Dates ::: 27 June - 9 July 2016
Private View ::: Tuesday 28 June | 6.30-9.30pm | Live Music and DJ
1. What was the idea behind the artwork for AESOP?
“I knew I wanted to create something that is conceptually in line with my current work, but would also work to draw people to the VOLTA Art Fair and the AESOP Store. In early discussions of the project what felt most interesting was creating an installation of paintings on the storefront rather than the typical digitally printed reproductions of artworks. I painted directly onto adhesive vinyl using the same process I use to create my works on canvas and paper.
I am fascinated by the role of painting in the digital age, and the way this project unexpectedly uses paintings to replace something that would usually be created digitally is conceptually consistent with with my current work. The works themselves are also meant to reference digital imagery with the use of bright colors, gradients, floating geometric shapes, trompe l’oeil, and photorealism. Playing with traditional modes of painting in a language that visually references technology allows me to explore what our expectations of contemporary images are in a digital world.”
Icons, 2016, acrylic on canvas
2. How do you approach your art, meaning where do you get your inspiration from?
“I think, like many painters, that I’m inspired equally by the past and the present, and, like many painters, I am essentially making paintings about painting. I am inspired by movements in art history such as Minimalism, Photorealism, and Op Art, as well as how the visual narrative of painting has generally evolved over time. I am also interested in processes and imagery that feel seamless to our current digitally dependent culture, and I mimic elements of those aesthetics using painting. I look at stock photography, advertisements, graffiti, photoshop filters, and the digital screen as inspiration for my work.”
3. Do you like the AESOP products, and if so which one is your favorite?
(my favorite one is their hair and scalp rose masque.)
“I love the Fabulous Face Oil and Parsley Seed Facial Cleansing Oil. A couple of years ago I discovered how amazing oils are as cleansers and moisturizers, these two really are fabulous!”
4. Would you be interested to put your artworks on fabric and combine your art with fashion?
“Absolutely, if the right situation came along. The theme of the trompe l’oeil crumpled surfaces that runs throughout my work is meant to hit on a history of drapery in painting as well as natural phenomena of light and color. A the same time it is also something that people want to somehow interact with. People always want to touch the paintings to understand them. The playfulness of something that is a flat pattern but looks three-dimensional is something I could certainly see being exciting to wear.”
5. Do you have a favorite fashion designer?
“I absolutely love Céline, Stella McCartney, and Alexander Wang. I am always looking to innovation in fashion and design for artistic inspiration. However, I tend to dress much more subdued than my work, lots of black and white- I leave color for paintings!”
Monday, June 20, 2016
Margaret Evangeline, Into the Deep, 2013, oil on canvas
JONATHAN FERRARA GALLERY is proud to announce the Berlin installment of the international gallery exchange exhibition with Galerie Jochen Hempel. In January 2016, eight German artists represented by Galerie Jochen Hempel, chosen by the curatorial team at JFG, exhibited in New Orleans and from June 24 – July 31, 2016, eight artists represented by Jonathan Ferrara Gallery, chosen by the curatorial team at GJH, will exhibit in Berlin. The New Orleans installation of EXCHANGE featured the work of German artists Hartwig Ebersbach, Uwe Frauendorf, Gerhard Gäbler, Matthias Hoch, Harald Kirschner, Peter Krauskopf, Sven Kroner and Ulf Puder. The Berlin installation will feature the work of American artists Margaret Evangeline, Bonnie Maygarden, Adam Mysock, Nikki Rosato, Marna Shopoff, Sidonie Villere and Paul Villinski. The opening reception in Berlin will be on Friday June 24, 2016 from 6-9pm with Jonathan Ferrara and Gallery Director Matthew Showman in attendance.
Jonathan Ferrara Gallery continually strives to broaden the scope of its practice and expand its international offerings. This unique collaboration with Galerie Jochen Hempel highlights this growth. Representing two hotbeds of creative talent, Berlin and New Orleans, the galleries are teaming up to present two reciprocal exhibitions in each city. The intent is to foster a dialogue between the two galleries and the two cities while presenting works by artists for the first time in the respective cities.
EXCHANGE will be a continuing project of Jonathan Ferrara Gallery with future collaborations each year to expand the gallery’s international reach. The next installment will be in late 2017 between Mexico City and New Orleans with world-renowned curator and Prospect Biennial founder, Dan Cameron, signed on to curate the exhibitions in both cities.
Galerie Jochen Hempel was founded in 1992 in Leipzig, Germany by its owner and director Jochen Hempel. Between 1993 and 1998, Hempel also ran a project space in Berlin, called Dogenhaus Projekte Berlin in addition to the Leipzig gallery. GJH opened its Berlin space in July 2011 and continues the work of Dogenhaus Galerie. Dogenhaus´ longstanding collaborations with artists and collectors create an excellent basis for the work of the current gallery. The Berlin gallery is located near the historic Checkpoint Charlie and the Leipzig gallery is at Baumwollspinnerei Leipzig, a former industrial site, which developed to a lively place for contemporary art. The old steam engine hall in Leipzig offers a unique exhibition space with the versatility and scale of the space allowing the gallery to strive towards fulfilling its commitment to museum quality presentations in its approach to exhibiting its artists. The gallery is located at Lindenstraße 35, 10969 Berlin.
JONATHAN FERRARA GALLERY is a collective environment of creative visions featuring monthly exhibitions of (inter)national, emerging to established, contemporary artists. A commercial gallery with a public conscience, artist, activist, and entrepreneur Jonathan Ferrara founded the gallery in 1998 to give artists a voice. Since its inception, the gallery has focused on forward thinking artists with a sense of purpose, mission, and message. The gallery is known for its stimulating and provocative exhibitions in a wide variety of media, having been featured in The New York Times, Art In America, The Art Newspaper, The Associated Press, ArtNews, NPR and many other international publications. The gallery regularly exhibits at art fairs in the US and Europe and works with museum and institutions to present its artists works.
For further information, press or sales inquiries please contact the gallery director, Matthew Weldon Showman, at firstname.lastname@example.org or at +1.504.522.5471 or Vicky Wang, gallery director at Jochen Hempel, email@example.com, +49 176 23758821.
Please join the conversation with JFG on Facebook (@Jonathan Ferrara Gallery), Twitter (@JFerraraGallery), and Instagram (@JonathanFerraraGallery) via the hashtags #exchangeXjfg and #JonathanFerraraGallery.
Saturday, June 18, 2016
Installation views of SKYLAR FEIN's Remember the Upstairs Lounge, 2008
"My God, we're Americans now."
by Jen Graves
Until Orlando, the deadliest known mass murder of LGBTQ people in American history happened when an arsonist set fire to the New Orleans gay bar the Upstairs Lounge in 1973.
All 32 men inside died.
The crime was never solved. A gay man who'd been ejected from the club earlier that day was suspected, but not charged.
Worse, the incident was swept under the rug by the public, by institutions. Families didn't talk about it. Churches refused to bury the dead.
Thirty-five years later, in 2008, an artist named Skylar Fein built a memorial art installation in tribute to those who were killed that night, and all of those who still fear, and who still are attacked. It was called Remember the Upstairs Lounge.
In the aftermath of the killings at Pulse, the editor of Hyperallergic, Hrag Vartanian, checked in with Fein. Fein's first thought after the attacks, when he saw the public outcry against the killer and the FBI investigators was, "My God, we're Americans now."
I never expected to be an American. I grew up feeling like an alien: ineligible for military service —even my blood wasn’t welcome at the blood bank. Like a lot of us, I fought it, then I became comfortable with it, and then I ended up liking it. I think it was John Waters who said that the best part about being queer was that you didn’t have to serve in the military, you didn’t have to get married, and you didn’t have to march in the Saint Patrick’s Day parade. It never really seemed like mainstream institutions needed our support or our moral strength to function. Why should we offer it? But it’s the other way around. Most queer people are just like everyone else, and they’ll tell you this straight up. Queer has become banal — well, certainly, “gay” has. When I find out somebody’s sexual orientation, I feel like I’ve found out one of the more banal things I could find out about them. It would be more interesting to find out that the person huffs ether, or counts cards at casinos. Now we rely on transgender people to remind us of our longstanding function of terrorizing the mainstream.
So, we’re American. And when the enemies of the US want to strike at US symbols, they now strike at us! LGBT equality would seem to be another American export that can be resented and attacked as American. For anyone used to being a pariah, this will take some getting used to.