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The Art of the Matter: Gala & Auction


The Contemporary Art Museum St. Louis’s 2016 formal gala, held at the Museum, will get to The Art of the Matter! An evening of cocktails, dinner, and dancing celebrates CAM’s groundbreaking exhibitions, high-quality arts education, support of local artists, and far-reaching impact on the St. Louis community. In partnership with virtual auction house Paddle8, CAM also presents a silent auction at the gala, featuring the work of over 75 celebrated and emerging artists in a variety of media, including:

Caroline Achaintre, Shiva Ahmadi, Maximilian Arnold, Alaa Awad, Conor Backman, Kristin Baker, Leon Benn, Michal Bohdankiewicz, Ry David Bradley, Jared Buckhiester, Jaqueline Cedar, Joshua Citarella, Dan Colen, Bethany Collins, Hunter Creel, Zuzanna Czebatul, Violet Dennison, Michael Dotson, Nicole Eisenman, Cecile B. Evans, Josh Faught, Andrew Gbur, Ron Gorchoy, Chris Hood, Cody Hoyt, KAWS, Lucy Kim, Brian Kokoska, Paul Kremer, Rachel LaBine, Zachary Leener, Sofia Leiby, Eric Mack, Nikki Maloof, Eddie Martinez, Servane Mary, Yoshitomo Nara, Matteo Negri, William J. O’Brien, John Jerome O’Connor, Toyin Ojih Odutola, Margaux Ogden, Nadia Haji Omar, Joyce Pensato, Wong Ping, Bayne Peterson, Sean Phetsarath, Heather Phillipson, Gabriel Pionkowski, Valerie Piraino, Przemek Pyszczek, Neil Raitt, Sean Raspet, Zach Reini, Retna, Alona Rodeh, Brian Rochefort, Nicola Samori, Max Hooper Schneider, Arlene Shechet, Lui Shtini, Mark Soo, Invader, Kyle Staver, Ezra Tessler, Mickalene Thomas, Victor-John Villanueva, Nicole Wittenberg, and Jesse Wine.

Fiber Optic

Minus Space
16 Main St.
Brooklyn, NY 11201

November 7 – December 19, 2015 
Opening: Saturday, November 7, 6-9pm

Artists: Anni Albers, Joell Baxter, Samantha Bittman, Chris Bogia, Martha Clippinger, Gabriel Dawe, Michelle Grabner, Lynne Harlow, Linda King Ferguson, Victoria Munro, Carrie Pollack, Gabriel Pionkowski, Sue Ravitz, Stephen Westfall, Emi Winter, and others.

A group exhibition highlighting several generations of artists innovating at the intersection of geometry and fiber.

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SELVAGE
Curated by Jodi Hays and Laura Hutson 

Tennessee State University
Hiram Van Gordon Memorial Gallery
3500 John Merritt Blvd, Box 9562
Nashville, TN 37209 

October 23 - November 21, 2014
Opening: Thursday, October 23, 6-8 p.m. 

Turning a medium around in one's hands, how one does with sewing and quilting — the intimacy and small scale — or the way in which a fold (what is hidden) and a seam (what is behind) are integral to the making. How can material extend beyond its own formality and become a metaphor for margin?

Taking its title from a term that indicates the often discarded edge of objects as diverse as quilts and stamps, Selvage looks at textile-driven abstraction in emerging art.

Brand New Second Hand


VIGO Gallery 
21 Dering St. 
London, United Kingdom 

October 15 – November 10, 2014  

This exhibition showcases artists whose creative processes use mental or physical destruction, degradation or loss as an impetus to recreate. Good out of bad, treasure out of rubbish, man made from machine made, new from old, replays or exorcisms of personal history, deconstruction and reconstruction of the elements of traditional painting, all feature.  For more information please contact info@vigogallery.com.

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(De)construction 

Galerie Hélène Bailly 
38 ru de Seine - 75006 
Paris, France 

September 18 - November 1, 2014 

September 26 - 28, 2014.  

The Haliç Congress Center 
Beyoglu, Istanbul




Off The Wall | Fresco Painting

Hudson Guild Gallery
441 W. 26th Street
New York, NY 10001

September 4 - November 9, 2014

featuring work by:
Nadia Ayari, Michael Biddle, Daniel Bozhkov, Christopher Carroll, Sean Glover, Elizabeth Mooney, Carrie Moyer, Walter O'Neill, Gabriel PionkowskiBarbara Sullivan, Maria Walker

Fresco is primarily an ancient mural technique but in the 20th century, artists started experimenting with that technique, exploring a variety of formats to create frescos that were not on walls. These include methods originally developed to remove damaged frescoes from the walls. Using a variant of the strappo method of attaching burlap to the wall to remove a fresco, artists invented a way to paint on the burlap.

The artists in this exhibition choose toe work in fresco not only for its historic connections but also because of the unique challenges and the specific surface. Fresco painting requires the artist to paint with pure pigments on freshly laid plaster before it dries. One must use a delicate but sure hand. Because the color is bound directly into the surface, when it dries a crystalline surface forms over the color creating a unique quality of light and color. 

Arts at Hudson Guild are supported in part by / public funds from New York City Department of Cultural Affairs in partnership with the City Council. Additional support by the Milton and Sally Avery Foundation, Susan and Tony Gilroy, Emily Meschter and Jolie Stahl.

WARP & WOOF Curated by Toby Clarke and Kathy Grayson


May 7 - June 20, 2014

OPENING: Wednesday, May 7th from 6-8PM

featuring work by:
Alek O., Ayan Farah, Evan Robarts, Gabriel Pionkowski, Graham Wilson, Hank Willis Thomas, Henry Krokatsis, Johnny Abrahams, Kadar Brock, Moffat Takadiwa, Nika Neelova, Penny Lamb, Shinique Smith, Tonico Lemos Auad

The Hole is proud to present our May exhibition utilizing our entire three galleries, Warp & Woof, curated by Toby Clarke and Kathy Grayson. Taking its title from the weaving terms "warp" (the vertical and static component of the weave) and "woof" (the dynamic and horizontal aspect of the weave), this exhibition looks at textile-driven abstraction across continents in emerging art.

Weaving is included in the show both literally (with woven works like the above by Gabriel Pionkowski where each thread of the canvas is de-threaded, painted, then rewoven) and metaphorically, as "warp and woof" can also be defined as the underlying structure of any process or system. The artists in exhibition unravel the trite cliché of the "fabric" of life by taking a temporal and indeed systemically structured approach to abstraction favoring personal history, traces, residues and chance.

Ayan Farah, Kadar Brock, and Graham Wilson all create process-driven abstraction that includes serendipitous destruction and creation operating within the systems they have created. Farah works with natural processes like light, heat, earth, wind and water to make "forensic" paintings without paint and composed by forces larger than the artist's hand. Brock creates his own "ecosystem" of paint where works are scraped and sanded, paint is collected in chips or vacuumed as dust and reworked into the lifecycle of his paintings and sculpture. Wilson works in a similar recyclical structure where paintings are sliced, stripped and reconstituted as the artist responds to and drives forward a circular artistic process.

Evan Robarts, Hank Willis Thomas, Shinique Smith and Alek O. include found materials into their conceptual framework in a web of memory, history and cultural forces. The discarded balls woven into reclaimed fences from dog parks or back yards in Robarts' work evoke a certain nostalgia in palette and ghost of past activity, while Willis Thomas' quilted athletic jerseys juxtapose family and warmth with public contest and sweat. Smith will here exhibit one of her "bales" of discarded clothes and fabric assembled into a chaotic monolith of towering textiles, while Alek O. includes a re-patterned and oragami-esque stretched parasol bleached by the sun.

Nika Neelova, Penny Lamb and Moffat Takadiwa use architectural ghosts to weave new artworks, as Lamb exhibits a sinister sewn-together floorplan of a mental institution and Neelova exhibits a Mobius strip of reclaimed bannisters from derelict buildings. Takadiwa exhibits a hand-sewn work of salvaged computer keys from trashed computers into a strange topography of non-information. These artworks look at how architecture and memory take shape in our subconscious.

Using both found and cast materials, Henry Krokatsis creates work that conjoins separate but wholly interdependent elements. Here he shows a non-functional cast black rubber mirror form that holds geometry, austerity and a lack of gesture. This is cast from, and joined with, a found junk shop mirror that by its nature embraces arbitrariness, material history and the narrative reward of subject matter. The piece shows the interconnection of elements fundamentally embraced by minimalism with the qualities minimalism sought to eradicate.

Tonico Lemos Auad, Gabriel Pionkowski and Johnny Abrahams perhaps exhibit the most direct "weaverly" tendencies but each includes the destruction of the weave simultaneous to the order it provides: Lemos Auad makes his works by actually unthreading parts of the textile to make ghostly shapes of removed threads in his screen pieces, while Pionkowski as mentioned above begins by unweaving the canvas completely. Abrahams paints meticulous panel paintings of silk Moiré patterns that, in pushing the digital interjection of image-making in between the weave and the painting, creates and captures these eye-boggling visual disruptions in the fabric. These artists inject entropy and disruption into the fixed grid of the weave and push within the limiting "warp and woof" to make space for emotion and poetry.


Provincetown Art Association & Museum


Context and Counteractions, Hans Hoffman Gallery, Provincetown Art Museum, Provincetown, MA  

January 10 - February 23  

Exhibition essay by Evan Garza, Exhibitions and Public Programs Coordinator for School of the Museum of Fine Arts, Boston 

"There is something about Provincetown that draws, and produces, visionaries. It is a site of enduring and extraordinary artistic history, and the stuff of creative myth and queer legend. A simple walk down Bradford, Pearl, or Commercial Street retraces the steps of Robert Motherwell, Helen Frankenthaler, Jackson Pollock, Jack Pierson, Louise Glück, Michael Cunningham, and, just as quickly as those histories rush under your feet, John Waters rolls past on a bicycle waving good morning to Jeffery Roberson, who plays Varla Jean Merman for the queens passing through town. What destination on Earth other than Ptown could comfortably foster the careers of both Hans Hoffman and Dina Martina? 

It’s here in this historied Portuguese fishing village that for more than 45 years the Fine Arts Work Center (FAWC) has been one of the most active and significant anchors of visual and literary arts in Provincetown, which is the country’s oldest art colony. Founded in 1968 by artists, writers, and patrons including Fritz Bultman, Salvatore and Josephine Del Deo, Stanley Kunitz, Phil Malicoat, Robert Motherwell, Myron Stout, Jack Tworkov, and Hudson D. Walker, among others, the Work Center serves as a vital creative outpost for emerging artists and writers. Fellows live and work at the FAWC seven months out of the year, and are visited by internationally celebrated poets, scholars, curators, artists and writers throughout the duration of the program. This communal experience is also a reclusive one – spanning cold, quiet winters and snowy springs – a deeply charming and isolated setting for artistic productivity, and a place to quietly focus on new projects. 

This exhibition of work by 2013-2014 FAWC Visual Arts Fellows, hosted by the historic Provincetown Art Association and Museum (PAAM), emphasizes the vitality of the Work Center’s mission to encourage the growth of emerging artists in the early, seminal stages of their careers, and reflects the material and conceptual miscellany of its Fellows. Unexpectedly, it also underscores a common currency among its artists: actions and interactivity. Be they physical or symbolic gestures (or both), the practices of this year’s Fellows might be collectively contextualized by a specific attention to reference and reaction. Context and Counteractions: Selected Works by the 2013-2014 FAWC Visual Art Fellows provides the physical evidence for that argument. [...] 

Another Fellow committed by surface engagement in his practice is Gabriel Pionkowski, whose process of creating woven paintings is startling in its complexity and visual splendor. The canvases for each work are taken apart, strand by stand, and individual strings are then hand painted and woven by a loom to create a patterned canvas fabric. This new canvas is hand painted by Pionkowski, then sliced into strips to be woven onto the stretcher to form a completely new composition. Clearly uninterested in picture making, Pionkowski actively questions the surface of painting and, in the process, the history of painting itself."


Madison Museum of Contemporary Art


Visit the museum after hours for "Under the Influence".

November 14, 2013


KIN


Rather than shy away from the “anxiety of influence”, this exhibition openly acknowledges creative kinship. Original artwork from over 19 artists will be displayed alongside the work of an others. 


2013 Wisconsin Triennial


The Wisconsin Triennial represents the Madison Museum of Contemporary Art’s much anticipated and celebrated survey of current directions in Wisconsin visual art. The 2013 Triennial—the latest in an ongoing series of triennials and biennials presented by the museum since 1978—is on view in the museum's lobby, State Street Gallery, New Media Gallery, main galleries, and rooftop sculpture garden through January 5, 2014. A cornerstone of MMoCA's exhibition programming, the Triennial captures the richness and variety of artistic practice across the state and showcases emergent trends in the larger contemporary art world.


Krasl Art Center


Painting is far from static. Styles, forms, boundaries and mediums resist limitation, making the practice full and exciting. This singular exhibition showcases paintings created throughout the nation, introducing viewers to the creative producers of today. Artists include Mark Bowers, Gregory Euclide, Carlos Fragoso, Daniel Gerwin, Eli Halpern, Robert Jessup, the late Steven MacGowan, Susan Michod, Lorri Ott, Gabriel Pionkowsi, Preetika Rajgariah, Celeste Rapone, Andrew Rogers, Adam Scott and Hollis Brown Thornton.

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