water/weight

September 19-October 25, 2008

Branch Gallery is pleased to present water/weight by Stacy-Lynn Waddell. Waddell employs fire and 

metalsmithing tools to brand canvas and paper, creating ethereally scarred surfaces. Her work combines collage, painting, and decoupage to fashion large-scale landscapes and installations that seek to animate the two-dimensional plane by inviting the viewer to wander visually through the spaces she has created. Waddell's smaller works incorporate text, portraiture, and found objects to draw a visual map of the complexities of American history and experience.

The multilayered works in water/weight  trace the journey of a girl who finds herself at the bottom of the ocean. As Waddell states, "Our crafty protagonist creates a world inside of the vast watery surroundings of the deep sea. A wall of gigantic tears lays bear her thoughts about how she may have arrived in this predicament and discovered artifacts suggest how she spends her time, what she encounters down below as well as her plan to leave this place in search of a new home. She is part pioneer, part prisoner, and part pilgrim." Whether through reference to the deadly uncertainty of the middle passage or the poetic possibilities of exploration, these works seek to fathom the irrepressible weight of water.

Waddell is based in North Carolina and received her MFA from the University of Chapel Hill, NC. She has exhibited at venues including the John Hope Franklin Center, Duke University, NC; Lump Gallery, NC, The Green Hill Center for North Carolina Art, NC; and the Southeastern Center for Contemporary Art, NC. Her work will be included in the upcoming exhibition, Art on Paper, at the Weatherspoon Art Museum, NC. Waddell will also be an artist-in-residence at Project Row Houses, Houston, TX, in Spring 2009.

 

 

Branch Gallery
401c Foster Street
Durham, NC 27701
+1 919 918 1116

 

 

 

  

10 Oct 2008 to 8 Nov 2008

 

A reproduction of the Chadwicks' famous Genretron will go on public view, for the first time, October 10th at Winkleman Gallery in New York-637 West 27th Street in Chelsea. The jewel of Chadwick Manor, The Genretron is a panoramic model built by the Chadwicks in the nineteenth century for the close study of Dutch landscape painting. Viewing from the central oculus, the Chadwicks used the surrounding diorama to immerse themselves in the physical atmosphere of their favorite landscapists-Hobbema, Ruisdael, Van Goyen, Van der Neer, Van Ostade, and many of the lesser shipwreck artists. This kind of immersion was crucial for their eccentric and little-known treatises on landscape aesthetics and genre painting, like Foreground Floor Debris (which hangs concurrently in the gallery).

Still largely unpublished, this theoretical writing sheds light on the extreme values the family brought to the appreciation of Dutch painting. In one of the latest and most strident of these works-The Onanist Cloud-the Chadwicks wrote of seventeenth-century Dutch art as the definitive moment in which landscape painting "vomited up the tyrant Christian landlords" who had until then "monopolized space with their tired stories." The effect of these stories in the painting, to the Chadwicks' way of thinking, had "contorted surrounding bodies into doctrinal registration machines whose gestures bureaucratized time." For the Chadwicks it was Dutch painting that cleared this situation away, providing "infinite reservoirs of liberatingly mundane sequence"-freed from "managerial psychologies shown 'absorbing' heroic narrative messages, or simply undergoing History with a capital H." The Chadwicks wrote of liberating mundanity not because they sought to avoid the 'big issues,' but because they found those issues precisely in art, like Dutch genre painting, that dispersed rather than packaged narrative-opening it to an infinity of paths and itineraries.

Though the Chadwicks hardly need an introduction, still the family is not as well known now as it was from the seventeenth to the nineteenth centuries, when its prominent role both in polite society of London and in greener colonial outposts like New Amsterdam brought family members constantly before the public eye. As eminent connoisseurs, sea captains, naval engineers and amateur historians, the Chadwicks amassed one of the great collections of nautical figurines, genre paintings and difficult-to-attribute manuscripts in Western culture. Held privately at the family estates for several centuries, this material is now finding its way before the long-curious public. This is a process overseen by the conservator J. Blachly and the literary historian Lytle Shaw, editors of the Chadwick Family Archive-principal overseers, also, of the current Genretron reconstruction.

 

 

 

Winkleman Gallery
637 West 27th Street (Ground Floor)
New York, NY10001
+1 212 643 3152

 

 

 

 

Surface Sounding
Ten Curators - Ten Artists
October 10 - November 22, 2008

See Line Gallery presents Surface Sounding curated by Janet Levy. Ten curators each selected one artist to show works relating to surface. Surface is defined as the exterior part of anything that has length and breadth; one of the limits that bounds a solid. This exhibition will include sculpture, video, collage and painting.

JOHN BUCKLIN curated by Emma Gray
John Bucklin is one of the rare birds in the art world whose work can not be separated from his life. Bucklin's recent foraging for gold in the hills of the American West, was most likely born out of an impulsive desire to roam free and discover, as much as it was to trail ancestors and make art out of his findings. However, Bucklin has an eye trained in both Italy and New York - his is not fool's gold.
Emma Gray was a former ArtReview Magazine Editor and columnist for Artnet and Saatchi online magazines, and now works privately for Sandy Heller.

AMANDA CHURCH curated by Courtney J. Martin
In Amanda Church's paintings, the outlines condition the intimacy of form and color. It is as if she has contained vibrant, active fonts of liquid beneath a seamless shield, creating limited movement. The limit, of course, is the viewer's perception,because this shield is really only the vibrancy of the paint on the surface of the canvas. The outlines replicate and reinforce the control of the surface.
Courtney J. Martin is an art historian. She is the curator of numerous exhibitions and a regular contributor to Artforum.com.

MICHAEL DEE curated by Shana Nys Dambrot
Michael Dee moved from New York to Los Angeles in 2004. His negative star photographs and their melted plastic subjects strike a precarious balance between superficiality, depth, and beauty.
Shana Nys Dambrot is an art critic, curator and author based in Venice, CA. Her fine art & design reviews, features and interviews have appeared in scores of regional, national, international and online publications. She is currently the Managing Editor at Flavorpill.com/losangeles and the Galleries Editor at TimeOut LA. A complete account of her published books and articles can be found at sndx.net.

JOE DEUTCH curated by Brian Bres

Joe Deutch is based in Los Angeles, California. He received his MFA from UCLA in 2007. He has shown at Crowe T. Brooks Gallery, St. Louis; Cirrus Gallery, Los Angeles; Track 16 Gallery, Santa Monica; and Marianne Boesky Gallery, New York. He recently had his first museum exhibition at PS1 in New York.
Brian Bress is a Los Angeles-based artist and curator. He received his BFA in film from Rhode Island School of Design in 1998, his MFA from University of California, Los Angeles in 2006. Bress is a recent Witt Visiting Scholar at the University of Michigan's School of Art and Design. His videos were recently included in a survey of the history of video in California at the Getty Museum in 2008.

JEREMY EVERETT curated by Andrea Feldman Falcione
Jeremy Everett tackles and freezes the titanic themes of love and death, and all that lies in between, in amber for us to reflect and absorb. Whether a megaphone encased in crystals or a record warped and burnt, their sounds both muffled, shout out at the time racing past all of us. Life is short, and art is still longer; these works remind us that we all can have a moment to sing love's praise at the top of our lungs before the final curtain falls.
Andrea Feldman Falcione established her own art advisory business two years ago and in that time has built some important personal collections. She formerly spent seven years as the curator for the Ovitz Family Collection, two years as a curator at the Broad Art Foundation and nine years as a curator in the Department of Prints and Illustrated Books at The Museum of Modern Art, New York.

BILL KLEIMAN curated by Lisa MelandriI
Bill Kleiman's unruly works combine the most quotidian materials with pure imagination. His sculpture/assemblages seem to burst through the wall, sometimes spilling or dripping onto the floor. Part sci-fi landscape, part decorative element, Kleiman's pieces prove the pleasure in craft and craftiness.
Lisa Melandri is the Deputy Director for Exhibitions and Programs at the Santa Monica Museum of Art. She is the curator of the project room series at SMMoA and has organized such shows as William Pope.L-Art after White People: Time, Trees, & Celluloid... and Enigma Variations: Philip Guston and Giorgio de Chirico.

XANA KUDRJAVCEV-DEMILNER curated by Alexandra Grant
Xana Kudrjavcev-DeMilner is an artist new to Los Angeles (via Berlin and the MFA Program at Yale). Her work has been exhibited nationally and internationally.
Alexandra Grant is a Los Angeles-based artist who works to investigate the nature of language in painting, drawing, sculpture and video. Her work has been featured at the Museum of Contemporary Art as part of the MOCA Focus series in 2007 and most recently (2008) in a solo show at Honor Fraser Gallery in Culver City.

JULIA LATANÉ curated by Ed Schad
Julia Latané's sculptures and installations oscillate between the delicate visible surfaces of nature and the conjectural, invisible world of superstring physics and black holes.
Ed Schad is a writer for Art Review and ArtSlant and runs the Los Angeles-based art blog, I call it ORANGES, (icallitoranges.blogspot.com)

JEFF ONO curated by Malik Gaines
Jeff Ono is a sculptor based in Los Angeles. He has had one-person exhibitions at Feature Inc., New York; Perugi Artecontemporanea, Padova, Italy; and Asprey Jacques, London. Ono has also participated in numerous group exhibitions, including "Mis-en-Scene" curated by Bruce Hainley at the Santa Monica Museum of Art, "To Be Recycled" curated by Malik Gaines at Six Months, Los Angeles, and "New Acquisitions" at MOCA, Los Angeles. Ono is the recipeint of a Penny McCall Foundation award.
Malik Gaines is an artist and writer based in LA. Independent curatorial projects have included "Fade: African American Artists in Los Angeles" for the City of LA, "Read Me" for the Armory Center for the Arts, Pasadena, and exhibitions by Kalup Linzy and Anna Sew Hoy for LAXART, Los Angeles.

JANET ROSENER curated by Peter Frank

Janet Rosener is a painter working in Orange County. Her imagery is abstract, with references to nature, and her technique, resulting in a luminous, textureless surface, relates directly and knowingly to the Finish/Fetish and Light-and-Space methods associated with southern California art over the last half century.
Peter Frank is Associate Editor of THEmagazineLA, a monthly periodical covering visual art in southern California, and Senior Curator at the Riverside Art Museum.

 

 

13x 7 x 12 inches
 

 

See Line
1812 Berkeley Street
Santa Monica
Los Angeles, CA 90404
+1 310 829 1727

 

 

 

 

 

 

 

Massimo Bartolini: Concert room with voices
October 4 - November 1, 2008

Performance on Saturday October 4: Pietro Riparbelli will play percussion and sound sources from Charles Ives's Piano Sonata No. 2, Concord, Mass. and Three Quarter-Tone Pieces

D'Amelio Terras is pleased to present a new video installation by Italian artist Massimo Bartolini for his first major solo show in New York. Bartolini's practice embraces various materials and techniques, from sculpture and performance to photography and video. Bartolini's artworks are highly experiential, inviting the viewer to reflect and potentially perceive the world in new ways.

The installation consists of two rotating archives. Video projectors placed on each rotating shelf cast eight images that traverse the gallery walls. The images presented are from footage shot in the courtyard of a former psychiatric hospital weeks before the space was to be condemned and destroyed. Together, the projectors function as a brain cycling through flashbacks of stored memories and disseminating them out onto the gallery walls.

In the videos, workers throw heaters from windows, an old hospital assistant describes past incidents and sounds of visitors are distant and muffled. Oreste Fernando Nannetti, a patient of the hospital for over thirty years, uses his belt buckle to scratch nonsensical graffiti sentences about his family genealogy, current events, and warfare into the walls. The carousel of images spins constantly, creating a feeling of disorientation for the viewer while mimicking the atmosphere, the cacophony of sounds, and the overall sensory experience of the enclosed courtyard of the psychiatric hospital.

Massimo Bartolini's recent solo exhibitions include: Frith Street Gallery, London, United Kingdom; IKON Gallery, Birmingham, United Kingdom; MAXXI, Rome, Italy; and Museu Serralves, Porto, Spain. Bartolini has had additional solo exhibitions at: GAM Turin Magazzini d'arte Moderna in Rome, Italy; Galleria Massimo de Carlo, Milan, Italy; and Museum Abteiberg, Monchengladbach, Germany. In 2006, Bartolini was included in the Shanghai Biennial and presented a site-specific installation at Art 37 Basel. In 2001, his large-scale sculpture that featured a perpetual wave was installed in the courtyard of PS1/MoMA in New York.

  

 

 

Nicole Cherubini
October 4 - November 1, 2008

D'Amelio Terras is pleased to present three new sculptures by gallery artist Nicole Cherubini. These large-scale pieces address compartmentalized processes of the clay tradition through Cherubini's exploratory merging of raw building materials, structural forms and surface ornamentation.

Cherubini's sculptures have been built by stacking clay forms on top of uncoated MDF, plywood, hunks of marble and alabaster. Turquoise tiles, spin-art cubes and pinched clay wreaths tether wooden armatures and grotesquely oversized Eva Hesse-inspired handles. Cherubini also employs the sturdy finished frames of 2-D digital collages as structural supports. These drawings render Greek pottery erased, painted over, and juxtaposed against the warped walls of 19th century George Ohr pots.

The works are the result of relentless processes -- minerals milled and mixed, wood sawed and bolted and pots dropped and topped with elegant shapes thrown on the wheel and hand-pressed into molds. Terracotta, earthenware and porcelain interlope and loop with one another marking distinctions between building matter. Cherubini references the radical acts of another pair of 19th century potters, the Brothers Kirkpatrick, as she constructs new contours relapsing and recoiling into 2000-year-old shapes of ancient Greek vessels.
Glaze becomes line, activating the marks of the artist. The drips are quick to bring attention to sharply cut holes that Cherubini excavates only to graft elsewhere on her pieces. Glaze pools into the shallow impressions of her finger-prodding and coagulates into a subtle earthy palette accented with metallic luster.

Nicole Cherubini's concurrent solo exhibition is on view at Smith-Stewart in New York through November 16, 2008. In 2009, she will be featured in "Dirt on Delight" at the Institute of Contemporary Art in Philadelphia, which will travel to the Walker Art Center in Minneapolis, MN. Her upcoming exhibitions also include: the Contemporary Arts Forum, Santa Barbara, CA; the Santa Monica Museum of Art, Santa Monica, CA; and a collaborative exhibition with Taylor Davis at the List Visual Arts Center at MIT, Cambridge, MA. Past exhibitions include: the Institute of Contemporary Art Philadelphia, PA; Samson Projects, Boston, MA; P.S. 1/MoMA, Long Island City, NY; D'Amelio Terras, New York; Galerie Michael Janssen, Berlin; and The Sculpture Center, New York.

 

 

D'Amelio Terras
525 W. 22nd St.
New York, NY 10011
+1 212 352 9460

 

 

 

 

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