Brainard Carey's Blog, page 36

Ezra Johnson

Ezra Johnson’s work has been included in group shows at the Nerman Museum of Contemporary Art (Kansas City), the Hammer Museum (Los Angeles), the ICA Philadelphia, and the Site Santa Fe Biennial.

His work is included in the Rubell Family Collection, Miami, FL; Louis Vuitton Foundation, Paris, France; and The Hammer Museum, Los Angeles, CA. Johnson’s work has been featured in the Los Angeles Times, Miami Rail, ArtNews, Hyperallergic, and the New York Times. His BFA was conferred from the California College of the Arts and Crafts, and he received his MFA from Hunter College.

Ezra Johnson, Shot Winner, 2022 oil on linen, 72h x 48w in, 182.88h x 121.92w cmEzra Johnson,  Sometimes Shaky, 2022 oil on linen, 69h x 49w in, 175.26h x 124.46w cmEzra Johnson, The Painter, 2022 oil on linen, 80h x 48w in 203.20h x 121.92w cm

Tyler Brandon

Tyler Brandon, Born 1991 in Hollywood, Florida. Lives and works in Brooklyn, New York.

In “Fire Paintings”, at Shelter, Brandon simplifies both composition and subject matter, depicting iconography from the natural world. Using primary colors with immediacy, the artist offers a reimagination of the western tradition of landscape painting.

Elements of nature become cryptic symbols that return the gaze of the viewer in their frontality. The compositional relationships of these icons suggest they correlate within a larger narrative, functioning together like hieroglyphics. Brandon uses these symbols to depict that which is eternal while at play, like the goddesses and gods of Ancient Greece and Rome.

For Brandon, the common denominator throughout this body of work is reduction, removing the excess until he arrives at the emblematic symbol. The artist explores the inclinations of our formative years, before one develops a strong sense of self. These basic elements are what unite us before we take on the weight of our society’s complexities.

“Basic Principle” Oil & oil stick on canvas 30 x 40“Law of Attraction” Oil & oil stick in canvas 30 x 40“Right Place, Right Time” Oil & oil stick on canvas 30 x 40

Peter Gallo

Peter Gallo Portrait by Shani Goddard

The work of artist Peter Gallo oscillates freely between painting, drawing, collage, and sculpture. Filled with literary, art-­historical, cultural, political, and musical references and detours, Gallo’s works, when installed together, create poetic, albeit labyrinthine, mise-­en-­scènes.

The critic James Yood identified in Gallo: “an apparent disdain for materials; an alert scavenger’s attitude toward culture; an eye for the poignant frailties of the vernacular; and an occasionally breathtaking ability to evoke issues of great import. His work is, inevitably, a mixed bag, because he treats the world and his mind as jumbled compendiums, filled with little connections and bursts of revelation that his seemingly slight but actually pointed interventions reveal. It amounts to a kind of grunge arte povera, a witty and instinctive immersion in the stuff of the world that is alternately lax and labored, spottily profound. A partial inventory of Gallo’s materials would include dental floss, toothpicks, a towel, string, wire, French vermilion oil paint, buttons, toilet paper, spackle, bric-­a-­brac, a bedsheet, picture frames, amateur sculptures, and patterned fabrics. These are usually mixed with snippets of found text or references to figures of cultural authority, either scrawled onto surfaces, collaged, or laboriously constructed as sculptures that allude to the likes of Spengler, Nietzsche, Kant, Pasolini, and Mondrian. His output becomes a kind of pantheon of gravitas—or, in its use of vernacular text, antigravitas made vital by the intensity of Gallo’s scribbles and his disinterest in pictorial nicety.” – Artforum, February 2005.

Gallo’s deceptively quiet body of work combines images from sources as diverse as gay pornography and ornithology with words by Roland Barthes, Freud, and bands like Joy Division and The Cocteau Twins. He utilizes simple formal structures that emphasize the materiality of painting, and his works alternate between, or combine, abstract, figurative, and textual elements. Nautical imagery derived from historical sources such as the Ship of Fools and the Ship of State, stands as one of his signature subjects.Peter Gallo (b. 1959, Rutland, VT) lives and works in Hyde Park, VT. He received a BA from Middlebury College, and an MA and a PhD in Art History from Concordia University, Montreal. His work has been featured in solo exhibitions at the Douglas Hyde Gallery, Trinity College, Dublin; White Columns, New York; Horton Gallery (Sunday LES), New York; and Anthony Reynolds Gallery, London; among others. The gallery presented a solo booth of the artist’s work at The Independent Brussels in 2018 and a two-person exhibition The Patients and The Doctors with David Byrd in 2015. The artist’s work has been included in Artforum, the Village Voice, The New York Times, and Art in America, among others.Peter Gallo, My Modernism, 2018, Signed on verso, Oil on bed ticking, 19 x 23 in, 48.3 x 58.4 cm, Courtesy of Sean Horton (Presents), New York, Photo: Matt GrubbPeter Gallo fiat ars pereat mundus, 2018—2019 Signed on verso Oil on cradled plywood 11 x 17 in 27.9 x 43.2 cm Courtesy of Sean Horton (Presents), New York Photo: Matt GrubbPeter Gallo, All Tomorrow’s Crucifixions, 2021, Oil & collage on plywood cabinet doors, 72 x 48 in, 182.9 x 121.9 cm, Courtesy of Sean Horton (Presents), New York, Photo: Matt Grubb

Sabine Hornig

Fotograf: Elmar Vestner, Berlin

Berlin based artist Sabine Hornig is known for her work combining sculpture, photography and installation to produce complex works allowing for new interpretations of conventional histories, memory, perspectives, and the lived environment. Her works explore the tension between surface plane and three-dimensional space, often treating transparent architectural mediums such as glass simultaneously as a surface, subject, and portal. At once rigorously formal and poetic, her works recontextualize familiar places and challenge individual views in the context of societal perspectives. By inverting perspectives and hierarchies, they make visible hidden contexts and communicate the interconnectedness of elements and conditions we usually separate.

Her most notable works include La Guardia Vistas, LaGuardia Airport, New York; Shadows, Sydney International Towers, Barangaroo; Double Transparency, Museum Boijmans van Beuningen, Rotterdam; Durchs Fenster, Pinakothek der Moderne, Munich; Room with Large Window, Berlinische Galerie, Berlin; The Second Room, Centro Cultural de Belem, Lisbon; Projects 78, Museum of Modern Art, New York.

Hornig is currently working on a commission for a new federal parliament building in Berlin. Her work is also on view at Give and Take. Bilder über Bilder, Hamburger Kunsthalle through August 28.

Sabine Hornig, This Is No Time, 2022  Photo: Daniel Bradica, Courtesy of the artist and Tanya Bonakdar Gallery New York/ Los Angeles. © Sabine HornigSabine Hornig, La Guardia Vistas, 2020 Latex ink and vinyl mounted on glass. Commissioned by LaGuardia Gateway Partners in partnership with Public Art Fund for LaGuardia Airport’s Terminal B. Photo: Nicholas Knight, Courtesy of the artist; La Guardia Gateway Partners; Public Art Fund, NY; Tanya Bonakdar Gallery New York/ Los Angeles. © Sabine Hornig
Photo by Nicholas KnightSabine Hornig, World of Tomorrow, 2022 Pigment print on archival paper. Photo: Sabine Hornig, Courtesy of the artist and Tanya Bonakdar Gallery New York/ Los Angeles. © Sabine Hornig

Marley Freeman

Marley Freeman Portrait by Sarah Rice, The New York Times

Marley Freeman is a New York-based artist who combines the disciplines of abstract and representational painting. Her unique facture is characterized by the hand-mixed gesso, acrylic, and oils she uses to create meticulous, psychologically-charged color fields. Through this technical process, she studies the ways in which paint “wants to perform.” “Pigments have their own ways of acting,” Freeman says, “and I became obsessed with learning their traits.” Freeman’s distinct vocabulary of forms is made up of brushy strokes, color washes, and shapes that freely transform across the picture plane. The influence of textile design is evident in her close attention to the textural subtleties of her paints, and her reverence for their surface effects—their impressions in the warp and weft of the canvas.

Freeman completed her MFA at the Milton Avery Graduate School of Arts at Bard College, New York, and her BFA at the School of the Art Institute of Chicago. Freeman’s work can be found in the collections of the Whitney Museum of American Art, New York, New York; RISD Museum, Providence, Rhode Island; the San Antonio Museum of Art, San Antonio, Texas; and the Colorado University Art Museum, Bolder, Colorado.

Marley Freeman, tuned to existence, 2021, Oil and acrylic on linen, 8⅛ x 9⅛ inches; 20.65 x 23.19 cm, 9¼ x 10¼ inches; 23.5 x 26 cm (framed)Marley Freeman, a self area, 2021, Oil and acrylic on linen, 54 x 54⅛ inches; 137.2 x 137.5 cm, 54¾ x 54⅞ inches; 139.1 x 139.4 cm (framed)

 

Gregor Hildebrandt

Gregor Hildebrandt’s signature media are cassette tape and vinyl, which he collages and assembles into apparently minimalist yet latently romantic paintings, sculptures, and installations. Resting in silence behind the glossy surface of his analog aesthetics, which verges on black and white monochrome, music and cinema haunt his practice. Whether pictorial or sculptural, all of his works contain prerecorded materials, which he references in the titles.These pop-cultural sources, usually a single song, are meant to trigger both collective and personal memories. Like analog storage media, his distinctive rip-off technique is a metaphor for the mnestic process itself: it consists in rubbing magnetic coating against double-sided adhesive tape stuck on canvas to trace intricate and elusive powdery patterns. Further relating to architectural Gesamtkunstwerk, Hildebrandt’s monumental sonic barriers made of stacked, bowl-shaped records and his sensual wall curtains made of unreeled tapes create paths for the visitors of his shows.Installation View of Gregor Hildebrandt’s Was Geht Uns Die Sonne An (What Does the Sun Matter to Us) at Perrotin New York, 2022. Photographer: Guillaume Ziccarelli Courtesy of the artist and PerrotinMary Nolan Kasten, 2022, Ink jet print, plastic cases, inlays in wooden
case, 159.5 x 111.5 x 9 cm. Photographer: Guillaume Ziccarelli Courtesy of the artist and PerrotinCut records, wood, canvas Ø : 92 cm. Photographer: Guillaume Ziccarelli Courtesy of the artist and Perrotin

Sam Lipp

Sam Lipp’s paintings draw from a wide range of found images, committing ready-made pictures and the artist’s own photographs to painstaking recreations using a unique process of additive color applied with steel wool. Encompassing directive street signs, Michael Jackson’s transformed face, sexual domination, and sites of civic ordinance, Lipp’s source material exists at the intersection of the body and power. In Lipp’s additive and highly tangible paint application, pin-sized dots of impasto accumulate to create nuanced hues, establishing concrete analogs to fugitive virtual signs. The resulting works are both highly tactile paintings and direct references to the mechanics of screen culture; at once obfuscated by a dappled fog and rigorously precise. Through these effects, the artist underscores the power of visual culture to govern our lived experience, linking pictures and control.

Sam Lipp (b. 1989, London) lives and works in New York. Recent and forthcoming solo exhibitions include Derosia, New York (2022; 2016; 2014); Bonny Poon, Paris (2019); Central Fine, Miami (2015) and Neochrome, Turin (2015). Group exhibitions include Derosia (2021); Cell Project Space, London (2019); Michael Jackson: On the Wall, National Portrait Gallery, London; traveled to Grand Palais, Paris; Bundeskunstalle, Bonn, Germany; and Espoo Museum of Modern Art, Espoo, Finland (2018—2019); Bonny Poon, Paris (2017); Night Gallery, Los Angeles (2016).

Sam Lipp Pollution twink, 2022 Oil on steel, screws 19 x 23 x .06 in (48.3 x 58.4 x .2 cm)Sam Lipp
Pornocracy 2, 2022
Oil on steel
66 x 24 x .75 in (167.6 x 61 x 1.9 cm)

Alexandra Noel

Artist Portrait: “Y, a self portrait”, 2019 4 x 5 x 1” Oil and enamel on panel

Alexandra Noel (b. 1989) currently lives and works in Los Angeles. She graduated with a BA in Visual Arts from the University of San Diego in 2011 and a MFA from Art Center College of Design in 2013.

Alexandra Noel’s small-scale paintings reveal uncanny assemblages of images. She concentrates on things depicted in a manner somewhere between surreal and familiar: newborns, home objects, and suburbia landscapes. She incorporates these aspects into far-flung imagined landscapes, tragic scenarios, and reinvented cinematic moments. The little panels hint at the size difference between human bodies and electronic devices. She zooms in, crops, stretches, and rescales her little panels as if they were images on screen. The audience is invited to view them from a very intimate perspective. Meanwhile, she emphasizes the tension between being sculptural and illusionistic. As a painter, Noel establishes a linguistic parallel to the dystopic and magical themes of her works by writing fiction that resembles the tone of poetry or a movie.

Alexandra Noel lives and works in Los Angeles. Recent solo exhibitions include Four, Derosia, New York, US (forthcoming), Table, Crevecoeur, Paris, France, Funny Looking, Antenna Space, Shanghai, China, There’s always something, Derosia (Bodega), New York, US, Master Planned, Freedman Fitzpatrick, Paris, France, Just a head, Atlantis, Marseille, France, and Theatre Road, Parker Gallery, Los Angeles.

Recent group exhibitions include A Minor Constellation, Chris Sharp Gallery, Los Angeles, (forthcoming) Oh, Gods of Dust and Rainbows, Cleveland Institute of Art, Front Triennial 2022, Cleveland, Ohio, Chambres d’Amis: Ikea, Office Baroque, Antwerp, Belgium, Particularities, curated by Chris Sharp, X Museum, Beijing China, Made in L.A. 2020: a version, Hammer Museum and The Huntington, Bolthole, with Orion Martin, Potts, Los Angeles, A Cloth Over a Birdcage, Chateau Shatto, Los Angeles, Metamorphoseon, Galerie Sultana, Paris, France. Recent publications include “Thirty Stuffed Grape Leaves” and “Ricky Rides Rick” published by Apogee, Derosia and Holoholo and “Take me out, please” published by Bodega (Derosia) and saxpublishers.

“Wedgies”, 2022 2 ¾ x 4 ½ x ¾” (x2) Oil and enamel on two panels Currently on view at Front Triennial, Cleveland Institute of Art“Skyscape Under Table”, 2022 4 x 4 ½ x 2 ¾” Oil and enamel on panel and wood Currently on view at Crevecoeur, Paris, France

Joy Episalla

Joy Episalla repositions the photographic and video/moving image into the territory of sculpture. Since the 1980s, Episalla has exhibited widely in the United States and Europe, including solo exhibitions at Tibor de Nagy, NYC; Participant, Inc., NYC; International Center of Photography, NYC; and Galerie Joseph Tang, Paris. Their work has been featured in exhibitions including Greater New York, MoMA/PS1; Artists Space, NYC; ICA Philadelphia; Centre Pompidou, Paris; and Centrale for Contemporary Art, Belgium. They are the recipient of a 2003 Louis Comfort Tiffany Foundation Award. Episalla is a founding member of the queer art collective fierce pussy.

Joy Episalla foldtogram (daylight 2), 2018 gelatin silver object 24 x 20 x 3/4 inchesJoy Episalla foldtogram (35′ 2.5″ x 44, August, iteration 6) 2018-2022 silver gelatin object dimensions variable

Emma Coyle

Coyle has been working within art for over 20 years, and has been based in London since 2006.

A recipient of International Art Market’s Gold List award. ‘Top international contemporary artist of today’, ‘Recommended artist to invest in and to be inspired by’, with work acquired by Dame Janet Wolfson de Botton.

Coyle’s first education in art in the 1990’s included an introduction to 1st wave New York Pop Art of the 1950’s. Her current figurative work focuses on the use of contemporary fashion magazine imagery and advertisements, to produce painterly images of a Fine Art quality. Combining primary and secondary line work with ideas in abstraction, minimalism and negative space.

Her recently completed painting series ’Linda’ and ‘Binary’ deal with embracing and disrupting formal composition. For the first time in 2020 Coyle chose to paint mixed white backgrounds in certain pieces, mixing colours is very important to each piece. This work earned an online review in 2020 from Dab Art Co. in Los Angeles and an inclusion in their current Artsy exhibition. Also, in 2021 Coyle was awarded a Distinguished Award from Canada’s ArtAscent magazine and a Finalist Award from Los Angeles’ Art Show International.

Through Coyle’s career her work has appeared within many publications including The Times (UK), London’s Mayfair Times (UK), Avari art (USA), A5 (UK), Al-Tiba9 (Spain), M&Art (Sweden) and Visions Libres (Germany) to name a few. Also, on the covers of Level 25 art journal (USA), Emergo (Netherlands), Litro (UK), and Kapa magazine (Greece).

Coyle’ work was selected by Los Angeles curator Bridget Carron for her collection Power Pop on Saatchi’ online gallery in 2014. In 2018 Coyle’ painting 12.16.07 won the Artness Magazine cover competition and won her an Artist of the Year 2019; Honorable Mention Award from Circle Foundation in France. In 2019 her painting series ‘12.16’ also won her a Special Artist Award from BESTART.  In April 2020 painting Linda no.1 receive a review from Dab Art Co. Los Angeles, and in 2021 won a Finalist Award from Art Show International also in Los Angeles and a Distinguished Award from Canada’s ArtAscent Magazine.

Interviews with the artist have been published in many online and print magazines, including Art Reveal, Murze art magazine, Family Office Elite magazine and Artjobs.com

Earlier in her career in Ireland Coyle exhibited in many galleries in Ireland and exhibited for the Irish National Portrait exhibition in 2005. Coyle also exhibited for charities in the Royal Hibernian Academy and Adam’s Fine Art auctioneers. Just before moving to London Coyle had solo exhibitions in the Signal Art Centre in Co. Wicklow and the Bank of Ireland’s art centre in Dublin, and was described as ‘one of the city’s most promising new artist’ {Metro Life newspaper- January 2006}, and a ‘rising young artist’ {Irish Independent- May 2006}.

While exhibiting in London since 2006, Coyle has expanded her audience exhibiting in America where her work has been positively received. She is now represented by the Helwaser gallery on Madison Ave in New York.

This year Coyle continues her work in figurative art with her ‘Sw16’ series, based on contemporary print media images. She is also working on and abstract project, woodblock prints and after 16 years has now returned to photography, using Polaroid and 120mm camera formats.

12.16.07 Acrylic on canvas 2017 60x48inches12.16.01 Acrylic on canvas 2018 60x48inches