Posts in Exhibitions
Petites Luxures
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NEW YORK CITY - Hashimoto Contemporary is pleased to present Petites Luxures in Big Apple, a solo exhibition by French illustrator Petites Luxures. Petites Luxures in Big Apple will be the artists inaugural solo exhibition at Hashimoto Contemporary, in which he explores themes of sexuality and intimacy through his signature minimalist style.

Through the use of minimal mark making focusing on the simplicity of fluid lines, Petites Luxure’s work delves into the intimacy of human relationships and love. French phrases and humorous witticism’s act as clues
to the often seemingly unfinished scenes, leaving the viewer to imagine the rest of the story. From a pair of hands unbuckling a belt to innumerable hands intertwined and entangled across bodies, the images culminate in a delicate and playful portrayal of desire and lust.

For Petites Luxures in the Big Apple, the artist will be exhibiting over 25 new ink on paper drawings, and will be exhibiting mixed media sculptural works and installations for the first time ever.

About the exhibition, Petites Luxures states, “Whatever the medium is, the purpose is always to play with the viewer’s eye, to make the spectator search for the rest of the story and to create playful and interactive erotic scenes.”

Please join us Saturday, January 5 from 6pm - 8pm for the opening reception of Petites Luxures In Big Apple. The artist will be in attendance. A limited edition archival pigment print of L’Éventail is scheduled to be released in conjunction with the exhibition and will be available in person at the opening.

This exhibition will be on view through Saturday, January 26, 2019. For more information, additional images, or exclusive content, please email us at nyc@hashimotocontemporary.com

Max Cole 'Crosswinds" at Larry Becker Contemporary Art
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If you find yourself in Philadelphia before the end of the year, we highly suggest stopping by Larry Becker Contemporary Art to see their current exhibition. To be honest, it wasn’t yet on my radar when I decided to go gallery hopping on a Saturday in November. I happened to begin chatting with an artist sitting a co-op space nearby and he urged me to go over and take a look. ‘Crosswinds’ presents paintings and works on paper by American artist Max Cole. I won’t give away too much here since the owners are more than happy to tell you about this incredible artist and her work - so go see some great art and say hi to their adorable gallery cat!

Max Cole
’Crosswinds’
On view Nov 10 - Dec 29, 2018

You can follow the gallery on Facebook & Instagram.

Max Cole’s paintings suggest an approach to infinity through the use of vertical repetitive lines, a record of intense focus that is said to contain energy as embedded content. The artist describes this process, which she has worked in for over 50 years, as meditative. Though sometimes compared to the work of Agnes Martin, the similarities between the practices are superficial. “There is no other way to produce the work except for a depth of engagement requiring the abandonment of self," Cole has explained, "and this process opens the door to infinity enabling reach outside the physical. For me art must transcend the material.” Born in 1937 in Hodgeman County, KS, she received her BFA from Fort Hays State University in Kansas and her MFA from the University of Arizona in Tucson. Influenced by the Suprematist works of Kazimir Malevich during the late 1950s, she began producing paintings which reflected on time with simple forms. The artist lives and works in California. Today, Cole’s works are held the collections of the Metropolitan Museum of Art and The Museum of Modern Art in New York, and the Los Angeles County Museum of Art, among others.

Artist biography adapted from Artnet.

Jaime Brett Treadwell at Pentimenti Gallery

The paintings on view in shift alt delete point to a slight detour from previous directions. Experimentation with new ideas, specifically architectural and mechanical drawing methods, combined with my persistent 1980’s childhood influences, including MTV graphics, digital synthesizers, and Miami Vice, has resulted in a deeper complexity of interwoven parts. I chose the exhibition title shift alt delete after recognizing the correlation between keyboard functions and the shifting realities present throughout this body of work. The shift key is designed to shift from one version to another, such as lower case to upper case. Alt, short for alternate, is designed as a modifier key to adjust or alter change. This ability to change or manipulate reality parallels my recent investigations regarding visual deceptions and spatial ambiguity through line, shape, color, and space. Similar to the key functions, elements in my painting often serve multiple roles. For example, a thin line may operate as the edge of a shape and also contribute to a repeating pattern of lines, later to return as a single line that cuts through another form or shape. These moments of co-existence throughout the painting disrupt the viewer’s perception of truth, often bending reality. Similar to pressing the shift, alt or delete key, these paintings can quickly switch identities back and forth, as they suggest alternate realities or a fictional universe.

www.jaimetreadwell.com


Pentimenti Gallery 

Nov. 10th – Dec. 20th

Philadelphia, PA 

Art Miami, Context and Aqua 2018 Staff Picks

This is our second year being a proud media partner of Art Miami Fairs. As if visiting sunny Miami is not inspiring enough, we got to explore thousands of artworks from across the globe. There were incredible, innovative pieces that stuck out to us from every art career level, but we had to narrow it down to a select few.

Here are our picks from Art Miami, Context and Aqua fairs from the 2018 edition.

Art Miami

Context

Aqua Art Miami

DEADRINGER exhibition by Michael Reeder

Hashimoto Contemporary is pleased to present DEADRINGER, a solo exhibition by Michael Reeder. DEADRINGER will be Reeder’s inaugural solo exhibition at Hashimoto Contemporary, in which he will be exhibiting new works that explore themes of self-identity and ego.

Through the use of bold saturated color and graphic geometric patterns blended with figurative elements, Reeder’s work delves into the concept of self, and the innate human desire to be an authentic entity. Skulls and hands are prevalent in the artists work, calling attention to both internal and external physical elements that connect us all as humans. As we strive for uniqueness, we are bound together through our humanity, highlighting the fact that we are ultimately the same.

About the exhibition, Reeder states, “I wanted to focus on how similar we as humans are regardless of our external differences and how desperately we attempt to stand apart in society. We are all composed of distinct experiences, backgrounds, cultures, fashion styles, careers, etc., yet it is all individually mashed up into a dead ringer, almost carbon copied vessel - the human body. This concept is the underlying premise of DEADRINGER.”

Please join us Saturday, December 1 from 6pm - 8pm for the opening reception of DEADRINGER. The artist will be in attendance. As an added bonus, the first 100 attendees of the exhibition will receive a free print.

This exhibition will be on view through Saturday, December 22. For more information, additional images, or exclusive content, please email us at nyc@hashimotocontemporary.com

Michael Reeder was born in Dallas, Texas in 1982, where he grew up influenced by the local skate and street culture. Drawing and painting in traditional mediums from a young age, Reeder found himself drawn to the underground, unseen, yet very public form of painting graffiti. He later moved to New York City where he received his Bachelor of Fine Arts degree in painting from the School of Visual Arts. Post-college, Michael took a job with Eyecon Studios in Dallas, Texas and learned to paint large-scale, traditional murals. These experiences fused with his early graffiti influence formed and grew into his portraiture work today. His work has been exhibited both nationally and internationally, along with numerous printed publications such as New American Paintings, Le Petit Voyeur and HiFructose Magazine. Reeder currently lives and works in Los Angeles, CA.

Laura Berger : Sentient at Hashimoto Contemporary

Hashimoto Contemporary is pleased to present Sentient - the inaugural solo exhibition by Chicago-based artist Laura Berger. Utilizing her signature glyphic style, she explores connectivity and community in her new body of work.

Concise female figures commune, dance and support one another in Berger’s acrylic on panel paintings. Each character is at once an individual totem and an integral piece of a larger composition upholding the communities created within each of Berger’s paintings.

Shadowy echos of figures mirror their more vivid counterparts, evoking a sense of history and unity as in Next Life, pictured above. These ghostly apparitions seem to lend their support and serve as a reminder of past generations.

The new paintings created for Sentient are energized with more vivid and fiery tones, eliciting a sense of power and energy. Berger’s minimalist paintings are imbued with a deep reverence for community and togetherness paired with a perceptive sensitivity that emanates hope.

Please join us for Sentient, opening Saturday, December 1st with an evening reception from 6pm-9pm, where the artist will be in attendance.

This exhibition is on view December 2 through 24. For more information, additional images, or exclusive content, please email us at sf@hashimotocontemporary.com

5 Questions with a Curator: Eileen Owens, Philadelphia Museum of Art

We were so thrilled to be able to chat with Eileen Owens, currently a Research and Exhibitions Assistant in the European Paintings Department at the Philadelphia Museum of Art. She curated the exhibition ‘Biting Wit and Brazen Folly: British Satirical Prints, 1780s–1830s', which opened at the museum earlier this year. The show will be on view for a few more weeks, until December 5th, so we highly recommend that you go and check it out!

Connoisseurs, 1799, by Thomas Rowlandson. Hand-colored etching. Given to the Philadelphia Museum of Art by Carl Zigrosser, 1974.

Connoisseurs, 1799, by Thomas Rowlandson. Hand-colored etching. Given to the Philadelphia Museum of Art by Carl Zigrosser, 1974.

Installation view. Photo credit: Joseph Hu.

Installation view. Photo credit: Joseph Hu.

Talk about your background in art and art history. Was it something that you were always interested in growing up?

Yes and no. I grew up in the southeast of Ireland, in a medieval city that was steeped in history. I would visit Kilkenny Castle often (my sister and I could probably still recite the tour now, decades later!) and loved learning about the city’s history. So, I had an appreciation for art in a very broad sense, but I didn’t visit my first art museum until I was a 17. When I moved to New York State, my high school offered an art history class, and I was immediately intrigued--I could actually learn about all these paintings I only vaguely knew about from TV or magazines. Taking that class, and having opportunities to visit the Met and MoMA on field trips, truly unlocked something in me. It was as if I was suddenly in on this secret new world--one I felt profoundly connected to.   

Even with this passion though, the understanding that I could have a career working in an art museum came to me fairly late. It wasn’t until I studied abroad in Rome my junior year of college that I committed to adding Art History to my major. The cliché of falling in love with art in Rome is true for me. I challenge anyone to live there for three months and not contemplate how important, enlightening, and continuously relevant art is in our shared history. Not to mention the sheer thrill of seeing so much beauty in one place! It was impossible to ignore.

You went on to study at Temple University for your MA in Art History. What was your focus and what did you enjoy about the program?

I studied nineteenth-century French art, with a focus on prints and print culture. I felt really supported by the faculty at Temple. The size of the program made it easy to develop solid mentor relationships with professors and some great friendships with fellow students as well. Being in an art history program that is part a renowned fine arts school—where people are creating and exchanging ideas in real time—was really appealing to me too.

Temple’s connection to Philadelphia and its arts and culture scene was also a huge influence, not only for access to exhibitions and arts institutions, but for internships and post-grad job applications, too. Being able to capitalize on that network really helped me get my foot in the door.

Tell us about how you ended up at the PMA! That must have been an exciting transition out of grad school.

It definitely was! I was very fortunate to have gotten a fellowship right out of school and to still be working at such a valuable institution now. I was selected as the Suzanne Andre Curatorial Fellow in Prints, Drawings, and Photographs, which is a two-year fellowship that I began in 2016. In grad school, I developed a love of works on paper—how they were made, how they functioned in society, who collected them—and this was my first museum position where I got to interact directly with these objects on a daily basis. Running the department’s busy study room, preparing for acquisition meetings, completing condition reports, taking courier trips—it was all vital training in the daily tasks of a curator.  

Monster Soup Commonly Called Thames Water, Being a Correct Representation of that Precious Stuff Doled out to Us, William Heath, 1794%2F95 - 1840 Gift of Mrs. William H. Horstmann, 1955.

Monster Soup Commonly Called Thames Water, Being a Correct Representation of that Precious Stuff Doled out to Us, William Heath, 1794%2F95 - 1840 Gift of Mrs. William H. Horstmann, 1955.

As part of your two-year fellowship you had the opportunity to curate an exhibition. How far in advance did you begin planning for it, what was the process like and what did it entail?

All in all, from concept to opening day, the show was in planning for the better part of a year and a half. I started throwing around potential exhibition ideas pretty much as soon as my fellowship began. I had a standing interest in caricature, having researched French satire for my masters’ thesis.  The museum’s holding of caricature, specifically British caricature, is so rich it just made sense to showcase these fantastically funny and perpetually relevant images.

I spent a long time looking through the more than 300 British caricatures in the museum’s collection. Early on, I made the choice to focus specifically on social satire, intentionally leaving out political works that might be less relevant (or understandable) to a modern audience today. What was so revealing, and actually pretty heartwarming, was how similar our collective sense of humor is now and then. What Londoners in the 1800s found funny and what we laugh about today really hasn’t changed that much. There are so many relatable threads running through the comedy of these centuries’ old prints—from anxieties about new technologies and environmental issues to the struggle to keep up with the latest fashion.

The Gout, James Gillray, c. 1745 - 1818. Purchased with the SmithKline Beckman Corporation Fund, 1949.

The Gout, James Gillray, c. 1745 - 1818. Purchased with the SmithKline Beckman Corporation Fund, 1949.

The show has been up for several months and has been extended until December, congratulations! What are you working on now or what's next?

Thank you! It has been so fun to share the exhibition with visitors. I love sneaking in the galleries and watching people, young and old, giggling at the prints!

I was fortunate enough to stay on at the PMA once my fellowship ended. Currently, I am a research and exhibition assistant in European Painting, working with curator Jenny Thompson on an upcoming Impressionist exhibition that will open in April 2019. In addition to the exhibition, we are planning a reinstallation of the PMA’s nineteenth-century permanent collection galleries too. Both are exciting projects that I’ve really enjoyed digging into!

*Photo credit for all exhibition installation images: Joseph Hu.

Alex Eckman-Lawn and Seth Clark at Paradigm Gallery

Two upcoming solo shows by Pennsylvania-based artists, Alex Eckman-Lawn and Seth Clark, opening this Friday, October 26 at Paradigm Gallery.

Fragmentation by collage artist, Seth Clark, feature new multimedia works. Fragmentation is a continuation of the artist's ongoing exploration of abandoned, deteriorating architecture; however, this featured series is less representational than his previous works. Derived most notably from found paper and wood, Clark's ambitious, intricate and delicately-worked mixed media collages aim to represent the fragmented and complex nature of architecture in decline, what he refers to as the beauty of decay.

Recessive by visual artist Alex Eckman-Lawn is the artist's first solo show with the gallery. Eckman-Lawn's latest multi-layered, hand-cut paper collages continue the artist's ongoing exploration of his anxieties and fears, recurrent themes of interest particularly focused upon the body and the weight of family history. His collages, at once precise and sure-handed, have a sulfurous glow, a magical aura seemingly rising dark and ominous from the hinterland of his mind.

About Paradigm Gallery

Paradigm Gallery + Studio® exhibits contemporary artwork from around the world with a focus on Philadelphia-based artists. Established February 2010, the gallery began as a project between co-founders and curators, Jason Chen and Sara McCorriston, as a space in which to create artwork, to exhibit the work of their peers, and to invite the members of the community to create and collect in a welcoming gallery setting. To this day the gallery still aims to welcome all collectors, from first time to lifelong, and continues to support accessible work that welcomes a wide audience.

The Courage to Enjoy It: Podcast Interview with Andrew Salgado
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On this episode of Art and Cocktails, Kat interviews contemporary artist Andrew Salgado about the inspiration behind his recent exhibition at Angell Gallery, his approach to painting, bringing pleasure back to art-making, the importance of rest for artists and much more.

Andrew Salgado is a leading young figurative painter with over a dozen sold-out international exhibitions, including London, New York, Zagreb, Miami, Cape Town, and Basel. In 2017, Salgado was the youngest artist to ever receive a survey-exhibition at The Canadian High Commission in London, accompanied by a 300-page monograph, both of which were entitled TEN

“The large scale, gestural paintings of Andrew Salgado explore concepts relating to the destruction and reconstruction of identity – a process that he views as re-considering the conventions of figurative painting through a pursuit toward abstraction. Salgado questions the nature of identity and even the act of painting itself as something monstrous, allegorical, or symbolic. Incorporating Classical archetypes alongside a wildly inventive approach to his chosen media, Salgado’s work defies categorization. Recent works include collage, mixed-media, and even hand-dyed and hand-stitched linen and canvas. ”I am interested in how my paintings operate independently from their literal figurative foundation, and how they might deconstruct through colour choices, reduction of forms, and triumph of materiality to become something altogether otherworldly.”

- Beers London

Andrew’s new exhibition at Angell Gallery, Toronto:

BLUE RAINBOW

ANDREW SALGADO

October 4–27, 2018

Ambera Wellmann Exhibition Opening at Projet Pangée

Artist: Ambera Wellmann

Exhibition title: (Wo)man and Beast in the Round of Their Need 

Opening: Thursday, October 11, 2018, 5:30 pm - 8:30 pm

Exhibition: October 11 to November 17, 2018             

Ambera Wellmann is a Canadian artist working in painting, assemblage, photography and video. Wellmann graduated from the Nova Scotia College of Art and Design (2011) and earned her MFA from the University of Guelph, Ontario (2016). She is the recipient of the Joseph Plaskett award (2016) and the recipient of the RBC Canadian Painting Award (2017). Her works have been exhibited at the Power Plant, Toronto, the Museum of Contemporary Canadian Art, and the National Gallery of Canada. She currently lives and works in Berlin. Wellmann gratefully acknowledges the support from the Canada Council of the Arts. In this recent series of paintings, Wellmann continues her investigation of porcelain as a bodily substitute and a vehicle for perversion, manipulating the sensuality of painted surfaces to blur the distinctions between material and flesh. Wellmann’s paintings hybridize a range of canonical motifs, transposing the grandiosity of historical figuration into intimately realized, darkly humorous works.

projetpangee.com

Feminist Ceramics: Podcast Interview with Jen Dwyer

On this episode of Art and Cocktails, Kat interviews Jen and learns about her creative journey, the inspiration behind her latest ceramics and her upcoming exhibition in NYC. Kat and Jen chat about overcoming creative fear, taking risks and self care. 

Jen Dwyer is a ceramicist artist who makes socially engaged ceramic sculptures and functional art objects. 

Upcoming Exhibitions: 

Not For Your Bunny, Lucas Lucas Gallery, opening Oct 18 6-9pm (On view through Nov 18, 2018). Co-curated by Stacie Lucas and Nathalie Levey.

Femme, Juxtapoz at the new brick and mortar gallery and bookstore in Jersey City (March 1st, 2019)

www.jen-dwyer.com

 

The Obscured Landscape Exhibition by Christopher Burk

My newest exhibition, The Obscured Landscape, plays upon the imagery of the “obscured” that occurs within the urban landscape. The exhibition continues my interest in the nocturne, with carefully composed pieces that focus on the camouflage that occurs within the exterior environments. The featured obstructions have at times been intentionally created by the hand of man, while at other moments, they have been created by nature. The level of obstruction ranges from a slight hindrance to complete obliteration - a short privacy fence separates one home from the next while towering foliage creates a complete barrier to a barren parking lot. While elements of human activity exist, such as a light shining from a window or a trash can on the corner, the paintings absolve themselves from actually depicting people. Instead, the work records and reflects upon the transformation of the urban environment by people through their action with or against the natural environment.

- Christopher Burk

Exhibition Information:

Brandt-Roberts Galleries

642 N High St, Columbus, Ohio 43215

October 5 - 31, 2018

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Opening Reception, October 5th 5:30 PM – 8 PM






Glamour Shots by Scott Scheidly

Spoke NYC is pleased to present Glamour Shots, a solo exhibition by Orlando, Florida-based artist Scott Scheidly. Glamour Shots will be Scheidly’s inaugural solo exhibition at Spoke NYC, where he will be exhibiting his ongoing “pink series” in which he depicts notorious politicians and celebrities dressed in hues of pinks and purples. Scheidly’s work presents an analysis of power, corruption, celebrity and masculinity. Through his exploration of color theory and identity, the artist touches upon themes of perception and societal norms through a satirical lens.

Popularized in the 1990s, glamour shots (photography) is known for it’s depiction of a composed image of it’s subject in a still position, often times intended for private and personal enjoyment. For Glamour Shots, Scheidly draws inspiration from this campy genre, draping figures in pearls, satin gloves and feather boas. The subjects playfully yet seductively look back at the viewer, hands cheekily grazing their face.

Consisting of 15 vibrantly painted satirical portraits, Scheidly’s humorous yet critical work challenges the viewer to consider the dichotomies of the feminine vs. masculine, and to question what is considered socially acceptable. By adorning controversial and pop culture figures in swathes of pinks and purples, Scheidly re-contextualizes them, challenging ideas of propaganda, power, strength and the machismo. Intricately detailed and shockingly pink frames complete each portrait.

About the series, Scheidly states, “the paintings are about the perception of color so by painting people in hues of pinks and purples it makes you step outside the norm and look at the subjects in a different manner. ”

Glamour Shots

Solo exhibition by Scott Scheidly Opening Reception: October 6th, 6 - 8pm On view: October 6th  28th, 2018

For more information, or additional images, please email nyc@spoke-art.com.

Open Call for Art by Unique Board & The TAX Collection

Unique Board & The TAX Collection are pleased to announce an open call for art submissions, offering artists the opportunity to create their own limited edition sculptures inspired from their work. 

Based in New York, Unique Board collaborates with inspiring artists and creatives to create limited edition sculptures that are more accessible and collectible. By working with Unique Board's team of specialists, your paintings, illustrations, collages, and digital artwork can be reimagined and transformed into collectible art pieces that will be released and available to fans and collectors.

Teaming up with The TAX Collection, a creative platform acting as a catalyst for emerging artists, the two brands are launching an initiative to provide opportunities for selected artists to design and release their own collection of limited edition sculptures - bridging their artwork and creations with Unique Board’s 3D printing craftsmanship.

With every round of submissions, one artist will be selected to collaborate with Unique Board on their own collection of sculptures, and dozens more will be chosen for features and interviews on the TAX Collection's publications and social media accounts. Artists chosen to collaborate with Unique Board will have their sculptures, and the works that inspired them showcased in Unique Board’s 2019 showcase exhibition - a pop up event in NYC.

Eligibility: Artists 18 and older are welcome to apply with works in any mediums. Artists from all countries are welcome to submit!

All artists that submit will have their work included in the TAX Gallery on the TAX Collection’s website for life and will automatically be considered for any upcoming curatorial projects and exhibitions.

Deadline: November 2nd, 2018

"Blue Rainbow" Exhibition by Andrew Salgado at Angell Gallery

ANGELL GALLERY is pleased to present  Blue Rainbow, the first solo exhibition in Toronto by London, U.K.-based Canadian artist Andrew Salgado. Featuring a suite of new paintings by the internationally exhibited artist, the show runs from Thursday, Oct. 4 to Saturday, Oct. 27, with an opening reception with the artist on Thursday, Oct. 4 at 7:00 p.m.

Blue is associated with the sky and the sea - vast spaces often used as metaphors for freedom and inspiration, or signifiers of tranquility and calmness. Perhaps this is why Andrew Salgado chose this colour as part of the title of his exhibition Blue Rainbow. After years of making work in which the political was very personal, Salgado's new paintings find him unburdening. "My practice was being weighted down by my own history," he explains. "I have been vocal about LGBT issues, but I think I'm cooling down."

Salgado insists that his latest work isn't political; however, with the rise of right-wing attitudes in many parts of the world - and the anti-LGBT sentiments that often accompany them - producing positive representations of gay people can be read as a political act. Salgado, who has been the target of hate crimes, dealt directly with his experiences in earlier works such as Bloody Faggot (2011). That painting represented what he was going through physically and emotionally at the time. In 2017, when he mounted a solo exhibition at the Canadian High Commission in London - making him the youngest artist to do so - Bloody Faggot was a central work in the show.

Salgado has closed the door on that period of his life. Now, he wants his work to be about the sense of joy and discovery that he experiences while creating paintings, and he hopes that visitors to his shows feel the same when viewing them. "The process, the joy, the colours, the feelings I get ... I want those to be enough for me, and I want them to be enough for viewers," he says. "I've learned to stop talking about what my work means because what others bring to it is just as important as my intentions."

Salgado's figures throughout Blue Rainbow are situated within vibrant and textured environments that suggest the out-of-doors: quiet moments on azure beaches, walking through a garden or contemplating a cobalt sky at dusk. Serenity, freedom and expansiveness inform the paintings; they serve as meditative yet irreverent rejoinders to the socially and politically proscribed lives that people too often feel hemmed in by. "A line from the Bjork song Big Time Sensuality - 'it takes courage to enjoy it' - really hit me recently," says Salgado. "I've heard this song a million times, but suddenly I was like: Oh my god, that's so true. So, this show is me, learning to enjoy." 

- Bill Clarke