Brainard Carey's Blog, page 37

Dana Sherwood

Portrait by Simon Burstall

Dana Sherwood received her BFA from the University of Maine, Farmington. In 2022, Sherwood installed her first solo museum exhibition at Florence Griswold Museum, CT. Sherwood has exhibited in dOCUMENTA 13, Mass MoCA, Storm King Art Center, Nassau County Museum of Art, FluxFactory, Socrates Sculpture Park, Tanya Bonakdar Gallery, and Marianne Boesky Gallery. Sherwood has had solo exhibitions at Denny Dimin Gallery (New York, 2016, 2019), Kepler Art Conseil (Paris, 2017), and Nagel-Draxler Reisbureau Galerie (Cologne, 2015). Her work has been featured or reviewed in publications including The New York Times, Forbes, Hyperallergic, Surface, The Village Voice, Food & Wine, The Huffington Post, Art F City, and the Miami Rail. Sherwood has received several prestigious residencies including Swing Space by LMCC, Pilchuck Glass School, and OMI International Arts Center. Sherwood has further upcoming exhibitions at the Berkshire Botanical Garden and Tanya Bonakdar Gallery.

To learn more, here is Dana Sherwood’s catalogue from her museum retrospective at the Florence Griswold Museum and a link to the museum itself.

Other Dessert Landscapes (still), 2021, digital video, courtesy of Dana Sherwood and Denny Dimin GalleryInside the Belly of the Reindeer, 2022, Oil on panel, courtesy of Dana Sherwood and Denny Dimin Gallery.Pollinator Urn, 2022, Ceramic, courtesy of Dana Sherwood and Denny Dimin Gallery

Aschely Cone

The various types of images in Aschely Cone’s work are unified insofar as they all share a meditation on the idea of ground—as something that underpins or is beneath something else, something that we notice persisting in the face of, or even because of, change, something as simple as the ground we stand on, or something a bit more intangible like what grounds us metaphorically. Her current project, “The Ground Beneath the Ground”, thinks about ground as earth or dirt. In these small panels the image is often situated within a low-relief, sculptural niche on the ground of the support itself. Images of the land are depicted—often images of volcanoes, or images gathered from a long-distance solo hike in Northern New Mexico. Her upcoming work will bring this meditation to the forests of Gabon, Africa.

Aschely Vaughan Cone (b. 1985, San Antonio, TX) received an MFA from the LeRoy E. Hoffberger School of Painting at the Maryland Institute College of Art (2016), an MA in Art History from Tulane University (2014) and BA in Liberal Arts from St. John’s College (2007), where she studied classics, philosophy and the history of math and science. Her awards include a matching scholarship for study at the Skowhegan School of Painting and Sculpture, the SMCM-MICA Artist House Teaching Fellowship, the Hamiltonian Fellowship and The Henry Walters Traveling Fellowship.

The book mentioned in the interview was The Peregrine by J.A. Baker.We alss discussed Gabon, learn more here with a free download.The French Institute of Gabon was also mentioned, the likely location of her upcoming show.The Ground Beneath the Ground (installation shot) All works 10″x8″x1″ Oil on panel with hard gesso ground 2020-2022Capulin Volcano, #6 10″x8″x1″ Oil on panel with hard gesso ground, oil paint made from New Mexican dirt 2021

David Adamo

David Adamo is an American artist (born 1979, Rochester, New York) who lives and works in Berlin, Germany. Primarily a sculptor, he engages with form and materiality, working with wood, plaster, bronze, and other materials to create installations that are both performative and formal in their arrangement.

A process of slow removal is central to Adamo’s sculpture. Objects from everyday life take on new forms, revealed by their remains: the fruit after it has been bitten, the balloon after the air has run out. The same is true of Adamo’s wood works—the eventual forms have emerged through the reduction of material.

For his fifth solo exhibition at Peter Freeman, Inc., a single unlaced shoe sits on steps leading nowhere and miniature doors set into the wall create entrances for small spaces in the installation. Adamo has peeled away the layers of 108 canes, chipping away until they are brittle and useless. The repetition of their spindly forms is offset by the pools of shavings the artist has left behind, exposing his progress in piles of negative material. A scenario is created in which the viewer feels they have just missed on out some action, trailing a sense of something unfinished…

His drawings are made ambidextrously, a practice which he relates to drumming. He describes working line by line, finding a rhythm and pace, and arriving naturally at a wave-like pattern.

David Adamo is on view at Peter Freeman, Inc., New York, through 22 July 2022.

Untitled (part V), 2020, Bic pen on paper, 88 5/8 x 74 3/4 inches (225.1 x 189.9 cm) Courtesy the artist and Peter Freeman, Inc. Photography by Nicholas Knight.Untitled (cane), 2021-2022, ashwood, rubber, ashwood chips, 36 3/4 x 4 3/4 x 1 3/8 inches (93.3 x 12.1 x 3.5 cm) Courtesy the artist and Peter Freeman, Inc. Photography by Nicholas Knight.

Agustina Woodgate

Agustina Woodgate (1981, Argentina) practice focuses on the politics of landscapes and infrastructures as a conceptual and public geography. She recombines, activates and repurposes available resources while setting alternative systems in motion. Woodgates’ approach is speculative, practical, and site and context-responsive, presenting critical possibilities to concepts on social orders, resource management and information distribution bringing clarity, scale, and accessibility.

In 2011 she co-founded radioee.net a nomadic, translingual, online radio station. In 2015 she co-founded TVGOV, a media company providing ecological data visualization. And in 2018 she co-initiated PUB, an experimental publishing platform within Sandberg Instituut, Amsterdam.

She is currently a tutor at the Disarming Design Master Program at Sandberg Instituut Amsterdam and is actively teaching workshops in several universities and organizations.

Her projects have been commissioned by BIENALSUR 2021, 2019 Whitney Biennial, 4th Istanbul Design Biennial; Haus der Kulturen der Welt, Berlin; 9th Berlin Biennial; Peabody Essex Museum, MA; Bienal de las Américas, CO; ArtPort, Tel Aviv; PlayPublik, Poland; DC Commission on the Arts and Humanities, Washington; The Bass Museum of Art, FL; Storefront for Art and Architecture, MN and KW Institute for Contemporary Art, Berlin amongst others.

Agustina Woodgate, The Source, 2019, Miami oolite, concrete, iron, plumbing grid, water.
108 x 108 x 108 in. Photo by Steven Sierra; courtesy of Art Basel and Barro, Buenos Aires, Argentina. 
Installation view in Collins Park, The Bass Museum, City of Miami Beach.Agustina Woodgate, National Times, 2016-2019. Close-circuit network of clocks synchronized directly by the power grid. Photograph by Ron Amstut. Installation view of the Whitney Biennial 2019 (Whitney Museum of American Art, New York, May 17-September 22, 2019).

Tim Kent

Brooklyn-based painter Tim Kent depicts psychotically charged interiors and unsettling dreamlike-vistas. In Kent’s painting, architecture and landscape are fused with gestural brush marks and elements of abstraction, but the picture plane is never flattened. Rather, the viewer is drawn into a deep space enhanced by Kent’s characteristic, symbolic perspectival grid lines. A reference to the Renaissance system used for constructing pictorial space, Kent’s perspectival lines evoke contemporary technological, mechanical and social systems such as electric grids, building elevation lines, internet networks, social networks, the flow of politics and information, and displays of power.

The artist’s imagery has evolved over the course of several bodies of work including A World After Its Own Image (2016) Dark Pools and Data Lakes (2018) and Enfilade (2020).  Kent describes his paintings as sometimes “stemming from a reaction to an event or moment from my life or the world, which I then use as the basis for my work.”  In other instances, his compositions “refer back to my own archive, whether photographs I’ve taken or found, or an image from an earlier work that continues to attract me psychologically or aesthetically. As Kent develops a painting, “the subject moves into focus, usually revealing some form of juxtaposition or conflict which serves as the basis for a larger body of work. Certain themes recur, historical narratives as cultural capital, or the interiors of stately architecture as artifact and landscapes modified by industry.”  

Tim Kent (b. 1975) Print Thief, 2022 Oil on canvas 33 x 33 in. (83.8 x 83.8 cm)Tim Kent (b. 1975) Ghost of an Idea, 2021–22 Oil on canvas 65 1/2 x 79 1/2 in. (166.4 x 201.9 cm) 

Heidi Hahn

Heidi Hahn (b. 1982) was born in Los Angeles, CA and currently lives and works in Brooklyn, NY. Hahn received her M.F.A. from Yale University in 2014, and has been the recipient of several awards, residencies, and fellowships, including the Sharpe-Walentas Studio Program Residency, Jerome Foundation Grant, Skowhegan School of Painting and Sculpture Residency, Madison, ME; and the Fine Arts Work Center Residency, Provincetown, MA, among others.

Her work has been collected by the Moderna Museet, Stockholm, Sweden; High Museum of Art, Atlanta, GA; the New Orleans Museum of Art, New Orleans, LA; the Kadist Art Foundation, Paris, France; Saastamoinen Foundation Art Collection, Helsinki, Finland; and New Century Art Foundation, Shanghai, China; in addition to being exhibited in solo and group exhibitions throughout the world including the New Orleans Museum of Art, New Orleans, LA; High Museum of Art, Atlanta, GA; Nerman Museum of Contemporary Art, Kansas City, KS; Anton Kern Gallery, New York, NY; and Premier Regard, Paris, France.

Claire Lehmann

Lehmann’s mysterious, frequently nocturnal paintings draw from sources as varied as the Flemish Primitives, aeronautic technical bulletins, how-to photography manuals, Gothic altarpieces, and radiographic simulators. The work explores the continuity of symbolic motifs over the course of centuries, but is united by a persistent concern with the iconography of the unseeable.Prior to completing this body of work, Lehmann co-curated, with Ann Temkin, “Ileana Sonnabend: Ambassador for the New,” at the Museum of Modern Art in New York; coauthored the anthology Artists Who Make Books (Phaidon/PPP Editions); and wrote “Color Goes Electric,” a widely read history of standard test images and the digitization of color, for Triple Canopy. A former editor at Cabinet and a contributor to Artforum, Lehmann received a BA from Harvard College in Visual and Environmental Studies (1998–2003).

Todd Gray

ToddGray portrait, img © Brian Guido

Todd Gray (b. 1954, Los Angeles, CA) works in photography, performance, and sculpture. Gray’s most recent photo works are comprised of photographs gathered from his own archive and recontextualized via their juxtaposition with one another and the use of antique frames as a structuring device.

Gray’s work is represented in numerous museum collections including the Getty Museum, Los Angeles, CA, the Whitney Museum of American Art, New York, NY; Los Angeles County Museum of Art, Los Angeles, CA; National Gallery of Canada, Ottawa, Canada; The Studio Museum in Harlem, New York, NY; Museum of Contemporary Art, Los Angeles, CA; Minneapolis Museum of Art, Minneapolis, MN; and Santa Barbara Museum of Art, Santa Barbara, CA, among others. He was the recipient of the Rome Prize by the American Academy in Rome in 2022,  John Simon Guggenheim Fellowship in 2018 and a Rockefeller Foundation Grant in 2016, among others.Todd Gray, the hidden order of the whole (venus), 2021, Four archival pigment prints with UV laminate in artist’s frames, 109 5:8 x 146 1:8 x 4 1:2 inTodd Gray, Atlantic (the Dancer), 2022, Four archival pigment prints with UV laminate in artist’s frames, 72 1:2 x 49 1:8 x 4 1:2 in

William Wegman

William Wegman in his studio

William Wegman was born in Holyoke, Massachusetts, in 1943 and received a BFA from the Massachusetts College of Art, Boston and an MFA from the University of Illinois, Urbana-Champaign. His work has been exhibited extensively in both the United States and abroad, including solo exhibitions at the Walker Art Center, Minneapolis (1982); San Francisco Museum of Modern Art (1988); Whitney Museum of American Art (1992); Museum of Fine Arts, Boston (2001); and The Art Gallery of Ontario, Toronto (2002). The retrospective “William Wegman: Funney/Strange” was held at the Brooklyn Museum, and traveled to the Smithsonian American Art Museum, Washington, D.C.; the Norton Museum of Art, Palm Beach; the Addison Gallery of American Art, Andover; and Wexner Center for the Arts, Columbus (2006-07).

Since his first exhibition at Sperone Westwater in 1990, Wegman has exhibited regularly at the gallery (1992, 2003, 2006, 2012, 2016, 2017 and 2022). 

The book William Wegman: Writing by Artist was edited by Andrew Lampert and published in April 2022 by Primary Information. The first collection to focus on Wegman’s lengthy and deeply funny relationship to language, the book is filled with over 300 previously unknown and wildly entertaining texts, drawings, and early photographs spanning the early 1970s to the present. 

William Wegman, OMG, 2021, acrylic and charcoal on wood panel, 40 x 60 inchesWilliam Wegman, Untitled (“Moths cost us millions…”), 1970-71, typewritten text on paper, 11 x 8 1/2 inches

Vivienne Griffin

Vivienne Griffin (they/them) is an multi-disciplinary artist who uses sound, sculpture, drawing and text in various forms. Griffin works with the voice through digital post-processing and in a workshop format called Synthetic Voices. They work with sound alongside sculptures and installations. More recently they have used generative sound in videos of virtual worlds. Their current work looks at the opaque boundaries of human-computer relations; where does the mind end and the machine begin?

Born in Dublin, Ireland and living in London, Griffin studied fine art at Hunter City University New York supported by a Fulbright Scholarship. They completed one year DPhil in visual art at the Royal College of Art, where they are now a visiting lecturer. They moved their research to the Sonic Arts Research Center, Queen’s University, Belfast to pursue a PhD in Music with a focus on sound in an art context, noise, and the voice. Recent shows include Manchester International Festival, 2021, the AGM in Somerset House, 2021, for Montez Press Radio in NYC, Condo in London. They are represented by Bureau, in NYC. They won an Oram Award in 2021, they are a resident at Somerset House Studios, London.

Still from Mercy, 2022, Digital video, sound.Still from Mercy, 2022, Digital video, sound.

Mercy from Vivienne Griffin on Vimeo.