subtle, persistent revolt x again again x a habit of my being
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Carla Gannis | The Garden of Emoji Delights
![EBK Gallery [small works]](https://lh3.googleusercontent.com/pn4wqy-KY81gV3MHvhmVQ8SAi4RmBV3l3V54KUM51zWaqISEIDyyIaWOy1A-qDHAEp4uhPaNAii3s11dBNEYFfRtM6nCuXXe3e-9bK7HMRbcXbMcbq69Za0gpcUtM1SK0stxt5V9)
When: On view through November 8, 2015
Where: EBK Gallery, 1429 Park St. suite112, Hartford, CT 06106
How: Official Website
What/Why:“My work is informed by art history, technology, theory, cinema, video games, and speculative fiction, to name a few, and I have expressed my ideas through many mediums, including digital painting, animation, 3D printing, drawing, video projection, interactive installation, performance, and net art. However, my core fascinations, with the nature(s) and politics of identity, were established during my childhood in North Carolina. I draw inspiration from my Appalachian grandparents singing dark mountain ballads about human frailty, my future-minded father working in computing, and my politicized Southern Belle of a mother wearing elaborate costumes, performing her prismatic female identity.
First and foremost, I am a storyteller, rooted in Southern Gothic and expanded into “Internet Gothic,” where I have re-focused my narratives through 21st Century representational technologies. With digital collage and remix I reveal the hybrid nature of identity, where virtual and real embodiments of self diverge and intersect. I invite viewers to experience our inescapably mediated lives “through a digital looking glass” where reflections on power, sexuality, marginalization, and agency often emerge. I am fascinated by contemporary modes of digital communication, the power (and sometimes the perversity) of popular iconography, and the situation of identity in the blurring contexts of technological virtuality and biological reality. Humor and absurdity are important elements in building my nonlinear narratives, and layers upon layers of history are embedded in even my most future focused works.
On a conceptual and technical level the tableaus I produce consist of fragments that are reassembled at oblique angles to their original context — mixing the language of Bosch with the language of Emoji (and the language of Carla Gannis) for example, or combining Photoshop® and Maya® with (H)and(D)rawing® and (P)ainting®. My thoughts, embodied irl and url, are not meant to convey logical conclusions or to allow for easy categorization. I feel akin to past and contemporary artists, filmmakers and writers who uncannily deconstruct rigid notions of reality and perception. The extension of this sensibility with computer-based applications is only natural to me as a reflection upon the Digital Age in which we all coexist. -C.G.”
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Again Again
When: On view November 19 through December 19th, 2015
Where: GRIN, 60 Valley Street, Unit 3, Providence, RI 02909
How: Official Website
What/Why: “Again Again is the first installment of a two-part exhibition focused on subtle, persistent revolt. Through the implementation of pale, muted, and pastel colors the artists reference the mundane aesthetic commonly associated with necktie collections, tupperware parties, office climate or holiday decorations. These interdisciplinary works feel familiar and reveal an underhanded, yet delightful rebellion upon continued investigation. By splitting the exhibition into two parts, curators Corey Oberlander and Lindsey Stapleton are able to explore two separate manifestations: the mental and the physical rejection of domestic urbanity.
A two-person exhibition with Ross Normandin and Clark Mclean Graham, Again Again focuses on the mental and subconscious aspect, this installation will move through personal achievement, memory and experience. Pleasing but uncomfortable, the works here do not allow the viewer to feel complacent, but instead illicit surprising emotions despite muted pastel colors and soft installation techniques.
High and low chroma; side-by-side and vis-à-vis, the installation of Again Again will focus on a repetition, subtle deviation and persistent effort. In dialogue independently and cohesively, both artists reject the fully mundane – choosing instead to highlight and examine tiny moments of common experience, failure and triumph.“
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Eben Kling: Bends
When: On view through November 14, 2015
Where: Carol Schlosberg Alumni Gallery (First Fl.) 23 Essex St. Beverly, MA 01915
How: Official Website
What/Why: “Montserrat College of Art is pleased to announce Bends, a solo exhibition of Eben Kling ‘09. Kling’s work addresses social and psychological issues with humor and an exuberant color palette. Bends showcases fifteen works on paper and one large-scale painting. Kling pokes fun at topics such as consumerism, the media, and authority. Like a cartoon, he depicts characters in moments of panic, gluttony, and desperation, tangled in morally ambiguous situations.
The exhibition title and works on display wrestles with troubling cultural dilemmas that Kling “bends”, applying them to a sandbox universe where he finds authorship over them. “Two Faced No. 1” and “Making Decisions Slowly” (2015) focus on the manipulation of facial features through layering multiple source imagery. Kling borrows physical characteristics from past work and the Internet, and manipulates them digitally by folding and layering them over one another to create something entirely new.
Kling continues to manipulates his figures in the series “Twisty Turny” (2015). This time, Kling looks beyond the face, and contorts the entire body. Each piece consists of a sole figure compacted into the center of a 22”x 30” piece of paper. Their backs fold in on themselves, “twisting” to conform to pressures that can’t be identified, merely imagined as they grimace in agony and glee. Legs and arms flail in an inhuman way as the artist forces them into impossible poses where their gesture and physiology are dependent upon the relationship they have with their environment, peers and outside occasionally unseen forces.
Kling portrays these characters in a way so that they seem comfortable despite being caught in a turbulent world that affords little relief from domineering cultural influences. For example, in “Spring Breakers” (2015) Kling sends his characters off to the beach. They kick back, soak up the sun, and toss a ball around while sinking into a void littered with the spoils of their gallivanting and careless consumption. Ultimately, King contorts the absurdity of everyday life, twisting it through a fictional lens where jubilant characters collide with one another, celebrating amidst the hysteria”
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Abstracted
When: On view November 5 – November 29
Opening Reception: Friday, November 6 from 6-830pm
Where: UFORGE Gallery, 767 Centre St, Jamaica Plain, MA
How: Official Website
What/Why: “UFORGE Gallery is pleased to announce a special exhibition for November, titled “Abstracted.” For this group show, assistant gallery director Alex Kittle chose works from over 30 local artists that she felt represented the concept of abstraction, from totally non-figurative allover paintings to paper collages that distort or alter their familiar subject matter. Included are works by watercolorist Lisa Goren, bronze sculptor Rook Hyde, assemblagist Daniel Breslin, mixed media artist On-kyeong Seong, and painter Rebecca Fullerton.”
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Rosa Barba: The Color Out of Space
When: On view through January 03, 2016
Where: MIT List Visual Arts Center, 20 Ames Street, Bldg. E15, Atrium level, Cambridge, Massachusetts 02139
How: Official Website
What/Why: “Rosa Barba’s works encompassing sculptures, installations, text pieces, and publications are grounded in the material qualities of cinema. Her film sculptures examine the physical properties of the projector, celluloid, and projected light. Barba’s longer projected works are situated between experimental documentary and fictional narrative, and are indeterminately situated in the past or the future. These speculative stories probe into the relationship of historical record, personal anecdote, and filmic representation. For this first survey of her work in North America, Barba premieres The Color Out of Space (2015), a new film incorporating images of stars and planets collected over the last year at Hirsch Observatory at Rensselaer Polytechnic Institute. The work expands upon Barba’s ongoing interrogation of geological time as measured against the span of a human lifetime. The exhibition includes works made over the last ten years including two of Barba’s cinematic large projections, which focus on natural landscapes and man-made interventions into the environment, as well as a group of small projector sculptures and wall works.”
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Eames: The Architect and the Painter
When: November 6, 2015 | 6:00 PM – 8:00 PM
Where: BSA Space, 290 Congress Street, Boston, MA
How: Official Website
Cost: $12
What/Why: “Watch an intimate film celebrating the creative genius of husband-and-wife team Charles and Ray Eames, a couple widely regarded as America’s most influential designers. Best remembered for their Mid-Century Modern furniture, this documentary shows the influence that Charles and Ray had on other significant events and movements in American life, from the development of Modernism to the rise of the computer age.”
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Waltham Mills Open Studios
When: November 7-8th, 2015, 12-6PM
Where: 144 & 289 Moody Street, Waltham, MA
How: Official Website
What/Why: “Waltham Mills Open Studios includes 3 great groups of artists within 2 blocks of each other.
Waltham Mills Artists’ Association is one of Greater Boston’s oldest artists’ communities, with more than 80 artists working in a wide range of media.
Lincoln Studios at 289 Moody Street, houses more than a dozen artists.
In addition, 10 artists from Metalwerx, a jewelry school and community studio nearby, will also be showcasing jewelry and metal art on the first floor of 144 Moody St.“
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David Brewster: Powerline
When: November 4 – 28, 2015
Opening Reception: Friday, November 6 from 6pm to 8pm
Where: 450 Harrison Ave, No. 57 Boston, MA 02118
How: Official Website
What/Why: “Brewster has said of his work and process; Making paintings is a habit of my being, and from early childhood I’ve sought out a kind of theater, often choosing opulent interiors and sylvan landscapes that are somehow distressed, threatened, disintegrating, forgotten or abandoned. Throughout my development I have continued to revisit these same scenarios, with their heightened sense of drama, movement and collapse, inviting the spectator to cross a threshold to confront aspects of our culture that are evolving or perishing. My paintings sit within a tradition the French call premier coup, meaning “all at once.” They are most often executed in one swift pass, with the graphic urgency of improvisational response underscoring all decisions and informing the energy of the mark.”
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E-Waste by Katherine Behar
When: On view November 7-December 20, 2015
Where: Boston Cyberarts Gallery, 141 Green Street, Jamacia Plain, MA 02130
How: Official Website
What/Why: “Boston Cyberarts Gallery is pleased to present E-Waste, an exhibition of work by Brooklyn-based interdisciplinary artist Katherine Behar. Behar’s installation centers on a series of sculptures inspired by a science fiction scenario in which commonplace USB peripherals are doomed to continue working long after the humans they were designed to serve have gone extinct. The gadgets are transformed into mutant fossils, encased in stone with lights blinking, speakers chirping, and fans spinning, eternally. The exhibition also includes a video series, Modeling Big Data – in which the artist inhabits an obese, over-grown data body, to humorous and poignant effect, and a 3D printer installation, 3D-&& – in which a fossilized printer slowly produces “scarab” covers for a network of glowing USB mouses, while its motors chirp out messages in Morse Code.”
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Leap Before You Look: Black Mountain College 1933-1957
When: On view through January 24, 2016
Where: ICA Boston, 100 Northern Avenue, Boston, MA 02210
How: Official Website
What/Why: “Discover the legacy of Black Mountain College, a small school in North Carolina where the course of art history changed forever.
A small, experimental liberal arts college founded in 1933, Black Mountain College (BMC) has exerted enormous influence on the postwar cultural life of the United States. Influenced by the utopian ideals of the progressive education movement, it placed the arts at the center of liberal arts education and believed that in doing so it could better educate citizens for participation in a democratic society. It was a dynamic crossroads for refugees from Europe and an emerging generation of American artists. Profoundly interdisciplinary, it offered equal attention to painting, weaving, sculpture, pottery, poetry, music, and dance.“
Related programming..
First Fridays: (BAU)HOUSE PARTY
When: Fri, Nov 6, 5–10 PM
How: Official Website
What/Why: “Delve into Leap Before You Look: Black Mountain College 1933–1957 and channel your inner Gropius at the ICA’s take on the Bauhaus costume parties of the 1930s.”
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Fenway Open Studios
When: November 14 & 15, 2015, 11 am- 5pm
Where: Fenway Studios, 30 Ipswich Street, Boston, MA 02215
How: Official Website
What/Why: “This event provides a rare opportunity to meet and talk with artists as well as to see the inside of this National Historic Landmark. This is the oldest purpose built structure in the country designed soley as artist studios.”
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Newton Open Studios
When: Saturday and Sunday, November 7 & 8, 2015 , 11AM-5PM
Where: Newton, MA
How: Official Website
What/Why: “Newton Open Studios produces community arts events that bring together the artists and residents of Newton. It is a non-profit, funded by artists registration fees and donations from generous individuals and businesses, and in part by the Massachusetts Cultural Council as administered by the Newton Cultural Council. Newton Open Studios is an affiliate of Newton Community Pride.”
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Shelley Reed: Tiger in the Living Room
When: On view through December 16, 2015
Where: Wheaton College, Haas Concourse & Lobby, Watson Fine Arts, Norton, MA
How: Official Website
What/Why: “Reed draws largely on 17th- and 18th-century European paintings and prints for her source material. Using photographs of these works from art history textbooks and other sources, she often borrows themes and imagery from the works but creates her own compositions. This translation from original to photograph, and photograph to painting, gives Reed’s work a contemporary edge, despite its reliance on centuries-old artworks. Her black-and-white palette imbues the work with a cinematic quality, and the large scale of the work (some life-size) invite the viewer to step right into her sumptuously charged environments, filled with figures and wild animals of all kinds in various states of tension with their surroundings and each other. This exhibition will include recent work, including the 47-foot-long In Dubious Battle, along with some older work that will reveal the evolution of her process and imagery.”
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Boston Creates – Town Hall Meeting
When: November 2nd, 6PM
Where: Boston Latin School, 78 Avenue Louis Pasteur in Boston, MA.
How: Official Website
What/Why: “On November 2nd, the cultural planning team will share its initial findings, incorporating the visions and aspirations expressed over the past several months of input from the public. Everyone is invited to listen and participate in responding to these findings as we begin to understand what we’ve heard and start identifying key themes and articulating priorities. Ultimately, it is these themes and priorities that will form the basis of the cultural plan.
We look forward to seeing you on November 2. Boston Latin School is very accessible by public transportation and there is limited parking onsite at the school as well as pay parking facilities in the neighborhood. “
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The Happiest Hour: Zachary Naylor
When: On view through November 13, 2015
Where: Occam Projects, 60 Valley St, Unit 2, Providence, Rhode Island 02909
How: Official Website
What/Why: “Occam Projects is pleased to announce The Happiest Hour, a solo exhibition of new work by Zachary Naylor. Displayed through a series of drawings, sculpture and a sound installation, Naylor creates a cast of characters which explore loss of innocence through themes of alcoholism, depression, and sexuality.
Figurative in nature, Naylor’s characters act as metaphors for personal struggle. In a sense his work is a series of allegorical self portraits; his cast, a community which provides the means to confront and re-examine his perception of self. The figures are distorted and unrecognizable, comically contorting and writhing throughout the picture plane. Cans of beer, empty and full, riddle the scenes; alcohol acting as a symbol which both binds and divides his characters. Their intoxication permits their actions, unearthing pleasure and pain as their true selves are revealed. They comfort, please, and harm one another, sharing their highest highs and their lowest lows. Naylor neither celebrates nor condemns the actions of his cast, rather he allows for viewers to conclude if the actions of his characters are justified and if they are truly monstrous or naively beautiful.
Working with graphite and colored pencil, Naylor’s line is loose and aggressive. This paired with a sparse use of color, allows him to guide and focus the viewer’s eye on specific areas of form. His rendering, while not strictly representational, accentuates the grotesque and terrifying aspects of the body. “
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The Waters of Life: A Refuge – An Immersive Multimedia Environment by Justin Freed
When: On view through November 29, 2015
Opening Reception: Friday, November 6, 6–8 p.m
Where: Galatea Gallery, 460 Harrison Ave, Unit B6, Boston, Massachusetts 02118
How: Official Website
What/Why: “This is a multisensory, multimedia respite and environment organized and curated by noted Coolidge Corner Theater Creator, Artist, Photographer and Videographer, Justin Freed and featuring an original sound composition by Max Alper.
Freed’s intentional environment seeks to shift the ambiance of the gallery space and therefore the experience of the visitor. This transformation will be accomplished by painting the space dark blue and darkening the windows. The altered gallery space will then be activated with digital framed photography, video work, physical constructions and an original soundscape and environmental sounds will be engaged to provide an immersive experience. This refuge is being curated to fulfill the human need to spend time in a place that is both aesthetically rewarding and emotionally satisfying. Freed will be constructing a place that answers the primal need for a sense of respite, a place of serenity and heightened awareness.”
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Marilyn Arsem: 100 Ways to Consider Time
When: Mon, Nov 9, 201510:30am through Fri, Feb 19, 2016 9:30pm
November 09, 2015 – February 19, 2016
Sat, Sun, Mon, Tues from 10:30 am – 4:30 pm
Wed, Thurs, Fri from 3:30 pm – 9:30 pm
Where: Museum of Fine Arts, Boston, 465 Huntington Avenue, Boston, MA, 02115
How: Official Website
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Joe Fig: New Paintings, Sculptures and Drawings
When: On view November 6 – December 18, 2015
Opening Reception: Friday November 13, 5:30 – 7:30
Where: Carroll and Sons, 450 Harrison Avenue, Boston, MA 02118
How: Official Website
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Nicole Cherbuni: Golden Specific
When: On view October 30 – December 5, 2015
Where: Samsøn Projects, 450 Harrison Avenue, Boston, MA 02118
How: Official Website
What/Why: Learn more about the exhibition here.
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Mary Frank: Today is Yesterday’s Tomorrow
When: On view through November 28, 2015
Where: Gallery Kayafas, 450 Harrison Avenue, Boston, MA 02118
How: Official Website
What/Why: “We are pleased to be presenting the work of Mary Frank, TODAY IS YESTERDAY’S TOMORROW. The exhibit will feature several of her paintings, drawings, sculpture, and a broad selection of her photographs.”
Also on view..
Gary Metz: Quaking Aspen
What/Why: “We are pleased to have the opportunity to be exhibiting Gary Metz’s Quaking Aspen, a series of his vintage black and white gelatin silver photographs made primarily in the 1970s. Metz received his BFA from the Rochester Institute of Technology in 1968 and his MFA from the State University of New York at Buffalo in 1972. Shortly after graduating he held a curatorial internship at the Museum of Modern Art, NY and received a National Endowment for the Arts grant for the curation of “The Great West: Real/Ideal” and editing a publication on the exhibition. He received National Endowment for the Arts fellowships in 1972/73 and 1980/81. Before coming to RISD, he taught at the San Francisco Art Institute, University of California at San Francisco and the University of Colorado. He came to RISD in 1981 to assume the role of Department Head of Photography, a position he held until 1992/93, and taught until 2003/04”
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Hilary Tolan: Shadowland
When: On view November 4-November 29, 2015
Opening Reception: Friday, November 6, 2015, 5:30-7:30 pm
Where: Kingston Gallery, 450 Harrison Avenue, Boston, MA 02118
How: Official Website
What/Why: “Shadowland is a group of perception-shifting images of the wilderness by Hilary Tolan, marking the first time the artist takes her subject outside of the Eastern United States. This current group of photos was taken in Utah, with the bleached, brilliant light of that setting inspiring her alterations. Tolan alters her own photographs of landscapes, building on concepts that absorbed her in previous bodies of work, manipulating the images with minute details that encourage a slower pace to notice.”
Also on view..
Jane Lincoln: All About Color
What/Why: “All About Color by Jane Lincoln is an exhibition of acrylic on paper paintings that demonstrate her ability to dive into a focused pursuit of color’s elusive, chameleon-like qualities. The works consist of horizontal bands of color that, as arranged, conjure optical vibrations and reflect tinted shadows onto the wall. Lincoln aims for the effects surpass optics and influence emotions.”
Also also on view..
Stacey Alickman: Humpty Dumpty II
What/Why: ”A few years ago, I became interested in the possibilities of recycling oil paintings by peeling the paint off its canvas and using the resulting chips for drawing and sculpture projects. These colorful, textured chips, once free of their ground, can be reconsidered and repurposed for new compositions. In this show, Humpty Dumpty II, I’ll be improvising with these chips to explore new assemblage patterns within a small space.”
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Strata: Paul Shakespear
When: On view through November 17, 2015
Where: Miller Yezerski Gallery, 460 Harrison Avenue, Boston, MA 02118
How: Official Website
Also on view..
James Tellin: Sendai-Worcester
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Federico Uribe: At Peace
When: On view through December 20, 2015
Where: Adelson Gallery, 520 Harrison Ave, Boston, MA 02118
How: Official Website
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Nancy Winship Milliken
When: On view November 11 – December 13, 2015
Where: Boston Sculptors Gallery, 486 Harrison Ave, Boston, MA 02118
How: Official Website
Also on view..
Andrea Thompson
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Did I forget anything?
Hi! There’s been a lot happening with FLUX. offline (not to be confused with Offline ;*) as of late. I feel as though I’m in the idea/early stages of a handful of projects and I’m eager to see which manifest into realities, and which go off like a cat in the woods to die.
(^.,.^)___)~~
Also, I have been meaning to share images from IAI since the beginning of October, but I had some technical difficulties (cliffs notes: desaturated uploads = “sRGB” BS.) Now that is squared away and I will be deploying the photographic evidence this month–stay tuned.
It will be nice to relive the summer, no?
More soon from the desk of FLUX. Stay sweet. ♥
