This exhibition was awesome. Many thanks to Myla and my fellow artists for such a beaut.
Curated by Jessica Hodin & Tyler Healy
Opening Wednesday, April 24, From 6-9PM
Bleecker Street Arts Club
305 Bleecker Street
New York, NY
OPENING RECEPTION April 24 from 6-9PM
Artists in the exhibition:
Kevin Baker, Kadar Brock, Violet Dennison, Eric Foss, Jack Greer, Jeanette Hayes, Tyler Healy, Miles Huston, Matt Jones, Dean Levin, Matt Magee, Carly Mark, Andrea Mary Marshall, Matt Mignanelli, Chad Moore, Jane Moseley, Evan Robarts, and Dustin Yellin.
The basis of the curatorial perspective, and the title of the exhibition, is derived from a passage of Agnes Martin’s “Writings,” Advice to Young Artists, which reads:
The life of an artist is inspired, self sufficient and independent (unrelated to society). The direction of attention of an artist is towards mind in order to be aware of inspiration. Following inspiration life unfolds free of any influence. Finally the artist recognizes himself in the work and is happy and contested. Nothing else would satisfy him. An artist’s life is an unconventional life. It leads away from the example of the past. It struggles painfully against its own conditioning. It appears to rebel but in reality it is an inspired way of life.
The paintings, sculptures, and photographs in this exhibition, which combine minimal composition, a romantic visual sensibility, and a youthful, anarchic spirit, look at now, the present, and are not examples of the artist’s attempt to be united under a single thematic or conceptual banner. Instead, the exhibition takes the form of a kind of cross section of artistic production in New York City right now.
Oil and acrylic on canvas
72 x 48″
For more information please contact Jessica Hodin at Hodin@BSACNY.com.
Outer Space 38, (2012) will be in The ArtBridge Drawing Room’s About Space exhibition with works by Tatiana Berg, Joey Piziali, Jason Stopa, and Hiroshi Tachinaba. The opening is January 10 and the show runs through the due date of my incoming niece (April 11). Here’s more info and the invitation image:
Curated by Jason Stopa and Jordana Zeldin
JANUARY 10 – APRIL 11, 2013
Opening Reception: Thursday, January 10, 6 – 8PM
The ArtBridge Drawing Room is pleased to present About Space, a group exhibition featuring Joey Piziali, Hiroshi Tachibana, Matt Jones, Jason Stopa and Tatiana Berg. Working in a range of styles, these five artists offer up a variety of aesthetic approaches to infinite galactic and virtual frontiers, challenging the spatial conventions of their flat painting surfaces. Co-curated by Jason Stopa, this is to be the gallery’s first collaboration with an outside independent curator.
Joey Piziali’s Triple Edge coaxes viewers into its airy depths by flirting with the aesthetics of lo-fi hypnosis and propelling the viewer into its central atmosphere. In Edge II, paint finds a home on the work’s perimeter. Leaving the center bare, it nevertheless, feels full. By employing the use of gradients and halo-ed edges, the vacant center become luminous, capturing visual effect of an eclipse, while the drips re-direct the viewer back to the works’ materiality.
Hiroshi Tachibana builds up his non-traditional small abstractions in layers; he piles separate skins of acrylic atop a polyurethane sheet that he then transfers onto the canvas when dry with gel medium. His Untitled works employ the resulting translucent milky layers to create a mesmerizing surface tension and visual density.
Matt Jones uses a variety of mediums to explore such themes as astronomy, ancient history and popular media, resulting in works through which he investigates the world around him. Jones’ 42″ oil on canvas tondo entitled, Space Painting 38, showcases technical mastery developed to replicate the look of deep space with impressive fidelity. From afar, the piece creates the pleasing illusion of hazy distant galaxy formations alongside closer star clusters; luring viewers closer, it breaks apart, re-asserting itself as a flat surface spattered in thin oil paint.
Jason Stopa’s playful works toe the line between figuration and abstraction, making use of alternately thin and cake-like marks of oil, spray paint and acrylic to allude to varied human experience. Most recently, he has been exploring imagery of deep space as depicted in early video games. With his latest work entitled, The Milky Way, Stopa situates the viewer in a dense and ambiguous white space that feels at once earthly and endless.
Tatiana Berg’s work on view, Just Tent – a three dimensional painting built of wooden canvas stretcher bars and set on wheels – playfully asserts itself as a stout, homespun vehicle. This work, which is part of a series, is composed of enamel and spray paint featuring black drips from its fulcrum. Its multi-paneled make-up posits itself between painting and sculpture, object and image. Berg’s work flirtatiously entertains the possibility of literally and metaphorically being transported into space.
About Space formally investigates our collective wonder in the mystery of space. Inviting us to examine our relationship between spatial illusion and material surface, these works speak to the larger human desire to explore new frontiers and probe new depths in painting and beyond.
A space painting of mine is in a photo of this sweet apartment appearing in the times yesterday.
Here’s a great write up and collection of photos from Irena Jurek from a visit to my studio a couple of weeks back.
There is a sense that almost any otherworldly and inexplicable phenomenon can take place within Matt’s universe. This ostensible potential for anything to happen along with Matt’s exuberant punk aesthetic hearkens back to a time in adolescence when everything was new, exciting, and the future was limitless. Just as through the lens of Physics we become aware of how wildly inaccurate many of our presumptions about the world are, through the eyes of Matt, we become mindful of the unfathomable intricacy that exists even in the most banal of moments.
Matt offers us a revitalizing respite from the prevailing flavor of our times; he re-mystifies the world for us. It’s hard to believe that there are academics and artists who still talk about “the demystification of art!” That’s such a dull, pretentious and outdated conversation to have. As if anyone in the art speaking world really needs to be elucidated on the monkeyshines of Art! Let’s place a permanent moratorium on any conversation pertaining to either the demystification of art or the anti-heroic.
Beings emerging out of portals!!! For these plywood sculptures, Matt uses the same methods that street artists use when pasting posters to walls. The DIY method along with the economical and accessible materials Matt uses in this body of work, embodies the inclusive sense of community in the punk ethos.
New York City
October 3, 2012
Opening Friday, September 28, 2012
46 Barrow Street New York, NY
Curated by Irena Jurek and Diana Buckley
In partnership with the Greenwich House, Irena Jurek and Diana Buckley are pleased to present the group exhibition, Finite Infinity from September 28 – October 29, 2012. Five New York based artists evoke perceptions of time through varied contexts. Lyotard describes a rumination of time that mirrors the idea of Finite Infinity in his essay, The Sublime and the Avante Garde, when he writes how “optical pleasure when reduced to near nothingness promotes an infinite contemplation of infinity.”Matt Jones’s improvised approach emits signals analogous to listening to a transcendental crescendo found in a Philip Glass score. His paintings pulsate, dilate, and mutate in a vast vortex, typifying the totality of the universe. Jones offers three works that not only depict space, but a colorless, staccato, rhythmic dance defining dimensions which tap into hypotheses of theoretical physics. The immediate is recognizable but his poignant approach allows the audience to access the inexpressible and unattainable nature of being.
Climbing the wall, organic, loose, and stretched form is a malleable structure with indistinct traits—a reflective undertaking in which Fabienne Lasserre utilizes, and deals with the fragility and imperfection found in human existence. The artist describes, I create “things” – simultaneous metaphor and real – that function in a system of porous categories and unstable identities.
Osamu Kobayashi’s paintings consist of floating volumes fixated by subtle play. In other words, an enigmatic aesthetic inadvertently leads to double meanings, like an imbalanced scale where mass and substance come and go. Kobayashi’s style runs the gamut of artists who have come to see shape and form as philosophical. The paintings Wave, Sun and Cool Love weave together diverse dialog where a mastery of space adds margin to the shows’ aesthetic.
Korakrit Arunanondchai offers a glimpse through the keyhole at a glittering world, by means of a hypnotic palette, which enables dopamine to ignite in the sense that the effect is the artist’s goal. Arunanondchai’s work does not portray a ubiquitous allegory but an infinite space in which to daydream. By drawing attention to the tension between the real and the imagined, Arunanondchai manages to distance himself from the putative tradition of abstraction
Molly Lowe transforms the banal and everyday into psychologically riveting objects. Office Chair and Heineken Geode are constructed sculptures that are photographed, with an accompanying expiration date. These works remind us not only about paradoxes surrounding impermanence, but how bizarre, fascinating, as well as disturbing everyday existence can be, with death around the corner and discomfort in the present. With Lowe’s photographs, the sublime accesses the suspension of reason in the face of Finite Infinity.
FOR IMMEDIATE RELEASE:
IN GOOD TASTE PRESENTS:
Matt Jones’s The Dinner Party
Wednesday, September 19th
15 Watts Street
New York, NY 10013
In Good Taste highlights the affinity between art, food, culture, and the process of creation from conception to reception. The series of dinners was developed for the purpose of fostering dialogue about art; removing it from the traditional gallery setting and integrating it within an alternative venue – one that allows for the artist to communicate their ideas conceptually to audiences in a more intimate, celebratory, and communal setting.
Each dining experience is a collaboration between artist and chef, a collaboration that inspires one-of-a-kind menus, thematic experiences and a small body of artwork created specifically by the artist in profile.
On Wednesday, September 19th, artist Matt Jones will bring people from multiple versions of reality together to share a meal balanced by the equally succulent and playful creations of Chef Seth Levine. In various forms: food, video, flat artwork, performance and sculpture, guests will dine within RSVP’s opulent private dining space and intertwine within an interactive experience that explores the human multi-dimensional nature via our six senses – paying witness to custom, conversation, and performance.
Our imagination is stretched to the utmost, not, as in fiction, to imagine things which are not really there, but just to comprehend those things which are there. Richard Feynman
Space is limited. For the price of the dinner, reservations and more information, please contact email@example.com.
About the artist:
Matt Jones (born 1980, Rochester, New York) is an artist living and working in Brooklyn, NY. Jones received his BFA from The Cooper Union, was awarded the Vera T. Carroll Prize for Painting, and attended the Yale Norfolk Summer School of Painting.
Matt Jones works between a variety of inter-related genres that explore astronomy, theoretical physics, ancient history, and comedy – all developed and inspired by research and personal experience. Together his bodies of work form a way for Jones to interact with, evaluate, negotiate, and play with the world around him.
Jones has exhibited at a number of prominent galleries and institutions including the Morris Museum, Mass MoCA, NADA Art Fair, The Hole, Freight and Volume, and Anonymous Gallery. He has exhibited artworks alongside other leading contemporary artists including, Ross Bleckner, Sam Moyer, John Newsom, Mark Gibson, Katherine Bernhardt, Wendy White, and has collaborated and exhibited regularly with friend and artist Kadar Brock.
Matt Jones work has been reviewed in Purple Diary, I-D, and NY Arts Magazine, Art Net, The New Yorker, The New York Times, and Paper Magazine to name a few. Jones continues to work with The Hole (New York) and Anonymous Gallery (Mexico City).
Breakthru Radio’s Art Uncovered paid a visit to my studio and Thomas interviewed me. Here’s what he has to say:
Matt Jones is an artist working in Brooklyn NY. His paintings and drawings are deeply influenced by the big mysteries of the universe — from string theory and outer space to ghosts, spirits and the paranormal.
I first discovered Matt’s work through his ongoing series of black and white “Space Paintings,” which look like vast swaths of deep space filled with thousands of star clusters. These space paintings spawned other kinds of works, so-called “Spirit Paintings” and what Matt calles “Energy Paintings” which involve pouring large quantities of paint onto plastic and then laying a black canvas on top of the swirling mix of colors. The resulting images are otherworldly abstractions that emphasize the influence that both science and the history of painting have on Matt’s work.
I met up with Matt at his studio to talk about how outer space, comic books, string theory, Black Flag and the multiverse all influence his art making. We also dive into Matt’s feud with the color purple.
And here’s where you can listen to the interview: http://breakthruradio.com/#/post/?blog=64&post=1362
Now available from lulu.com – Puppy American 4: Evil Dead 2. It’s a black and white newspaper-like edition of all the photos Kadar and I took before, during, and after the opening of Evil Dead 2 at Horton, Berlin. The book is black and white, paperback, and 214 pages. It includes a fantastic essay by James Crone. You can download a copy of the book here.
I’m participating on Mary Mattingly’s team (with Kadar Brock and Fred Fleisher) in Creative Time’s Sandcastle Competition this Friday @3pm. Kadar and I are riding bikes out there if anyone’s interested in joining us.
Creative Time’s press release:
Rockaway Beach, NY
A write-up in the Sag Harbor Express featuring A Ruin at Powerplay in Bridgehampton:
Posted on 25 July 2012
“A Ruin” by Matt Jones
by Helen A. Harrison
When it comes to art, the power of playfulness is often discounted. Art should be serious, and we should approach it with respect and even reverence. Well, gravitas has its place, but sometimes art, even great art, can be fun. Alexander Calder may be the best-known artist whose sculpture is both sophisticated and whimsical, and Red Grooms certainly elicits a chuckle with his 3-D caricatures of urban life.
“Powerplay,” the current sculpture installation at the Hayground School in Bridgehampton, aims to take that attitude one step further by engaging children with sculptures peppered around the school’s 13-acre campus. Organized by The City Firm, a Chelsea-based art advisory service with connections to the East End, the project features work by 28 artists using diverse and sometimes unconventional materials.
On opening day, July 14, a series of events and performances enhanced the overall theme of questioning “the value system of power and how it is interpreted within the American psyche.” For those who, like me, missed the occasion, there’s a YouTube video showing some of the day’s happenings. Apparently the idea was to have serious fun, mixing participatory activities with teaching and learning experiences.
Now that the dust has settled, what remains is a mixed bag of outdoor sculptures, some of which have not weathered well. When I visited, only a week after the official opening, many labels were down, and several of the more ephemeral works were no longer in evidence. Matt Stone’s “Xithform” had lost its embellishments, “Pinwheel Park and Whirligigs,” an ambitious installation by Grant Haffner, Carly Haffner and Scott Gibbons (assisted by the Hayground Campers) was in disarray, with several pinwheels broken and other parts missing, and Matt Jones’ “Obelisk #1” had suffered the fate of some of its Egyptian forebears. But Mr. Jones’ other piece, “A Ruin,”(above) a skeletal art gallery with a single painting on each wall, is paradoxically intact. The artist says that he “wanted to make a space … that is like a gallery and like an unfinished tract house. A space that isn’t in a city but is with nature,” but I take it as an ironic comment on art’s place in modern life, at the mercy of the elements and with little visible support.
The works that have stood up best are those made of durable materials, like welded metal. Joining Bill King’s family group on the main lawn are some witty entries, like Steve Heller’s “Fintasia,” a whacky rocket ship with a car taillight for a nose cone. (Mr. Heller’s “Cadillac,” a miniaturized version of the vintage tail-finned confection, is appropriately placed in the parking lot.) Also on the lawn are Willy Neumann’s “15 Minutes of Frame,” in which visitors can create their own tableaux vivant, Michael Chairello’s “Split Differences,” a linear interplay of calligraphic curves, and Gloria Kisch’s spidery constructions, “Copper Fusion” and “Golden Fusion,” that appear both organic and metallic at the same time. Jason Peters’ “When There Was Nothing, Now There is Something” makes clever use of plastic, a substance that’s all too durable in the environment. It’s a snaking loop of red and white paint buckets that unfortunately needs a lot of support to keep its shape. The crutches and guy wires detract from its graceful form, but the piece nevertheless makes the point that the artist’s imagination can transform even the most unpromising material.
Many of the “Powerplay” works use recycled or found objects, perhaps as a way of highlighting the exhibition’s theme of critiquing American values. What most people discard with impunity, artists often rescue and rehabilitate. But it seems to me that this high-minded purpose is not the project’s most important message. Regardless of what art is made of, what style it is or what idea it expresses, it should be part of everyday life, an essential element of our experience. Rather than teaching about art from secondary sources like books or slides, sculpture on the school grounds allows youngsters and adults alike to interact with it directly, question its meaning and purpose, and play with it in the most rewarding sense.
NY Arts Magazine has a super nice double page spread of my work with Jorge Ulrich’s sweet sweet text. Check it out. The IRL mag comes out soon.
Jorge Ulrich’s Text:
Matt Jones lives in a sonic boom. His work as an artist manifests the cultivation of traditional knowledge and doctrine, while being embodied with the principles of adolescent masculinity and ideas of wasted youth. There is an orchestrated spontaneity in his art that makes him a master of mischief, yet well aware that his playfulness is consequential. There’s a mathematical language developing in his work that is grounded by concepts of the universal expansion of energy and its regenerative potential. He sees space and time as something that can be recognized and represented figuratively, as a body that is active and transformable.
POWERPLAY, A Sculpture Park
Hayground School, Bridgehampton, NY
July 14-August 24, 2012
Obelisk #1, 2011-2012
Paper, Toner, Elmer’s Glue, and Wood
90 x 48 x 48 inches
FOR IMMEDIATE RELEASE:
POWERPLAY, A Sculpture Park
Hayground School, 151 Mitchells Lane, Bridgehampton, NY 11932
Opening Event: July 14th, 2012: 12PM – 8PM, Closing Date: August 24th, 2012
Penn Station LIRR to Bridgehampton Station (5 minute walk to POWERPLAY)
Free and open to the public
For the full experience RSVP to: firstname.lastname@example.org
RSVP is not required, but strongly recommended
On July 14th, 2012 POWERPLAY activates the 13-acre facility of the Hayground School in Bridgehampton, Long Island featuring over 25 emerging and established artists from the East End and New York City. The participatory-based programming highlights sculpture, installation, performance, sound and video.
POWERPLAY is a sculpture of experiences curated by Molly Morgan Weiss and The City Firm. POWERPLAY invites the viewer to question the value system of power and how it is interpreted within the American psyche. The exhibition confronts the dualities between natural and man made energy, as well as being a part of a global community versus an ethnocentric one. The themes explored are alternative energy, science, space exploration, food, holistic practices, technology, spirituality, sexuality, wealth, beauty, ritual and human interaction. A printed map of the 13-acre experience will be provided upon entrance.
POWERPLAY is inspired by the spirit of the Hayground School, known for its holistic philosophies and radical Arts Program and Outreach. POWERPLAY will host a number of Hayground projects that highlights the school, its community, and its unique programming. The outdoor sculptures lining the grounds will be on view until August 24th. A percent of all proceeds will go to the Hayground School, which is a registered 501(K) non-profit organization.
Sculptures: Amanda Browder, Eric Cahan, Lance De Los Reyes, Violet Dennison, Grant Haffner, Steve Heller, Matt Jones, Ryan Keeley, Gloria Kisch, Dennis Leri, Eric Leiser, David Maddy, Shantell Martin, NewVillager, Ze’ev Willy Neumann, Leigh Nisonson, Clayton Orehek, Matisse Patterson, Jason Peters, SHOWPAPER Newsboxes, Mint & Serf, Matt Stone, Peter Sutherland, Ben Wolf & Steve Zaluski
Installations: Santina Amato (Classroom: Video Installation), Roxie Darling (Launch Pad: Hair Installation), Walker Fee (Classroom: Live Tape Art) Beth Fiore (Pool: Wearable Art Dive), Hayden Fowler (Classroom: Video Projection), Jeanette Hayes (Computer Lab: Media Takeover), Miz Metro (The Path: Loop Sound Lane), NewVillager (Gymnasium: Installation and Performance), Matt Stone, Push Pops & Prayer Town (Classroom: Sculpture, Sound & Performance), Andrina Smith (The Round: Spoken word), Joy Tomasko (Field: Participatory Performance), Velveteen & Guillermo Riveros (SandBox 1: Sun Tanning Performance), Maria Pessino (The Round: Traditional Cuban Boleros)
July 14th Programming: Yoga, Energy Healing conducted by Tim Chambers, Jen Cronley and Jessi Brooks, Round Table Discussion onPOWERPLAY, Hayground Workshops, Dan Bailey Drum Circle, and Food Trucks.
Hayground School’s mission is to provide an open, community school where conventional teaching methods are replaced by new ways of teaching and learning. The school is committed to a program of innovation in a community of diversity, both economical and cultural. Molly Morgan Weiss is an East End native, living and working in New York City, known for her art and curatorial projects exploring interactive pieces in public spaces. The City Firm’s mission is to push the limits of how art is exhibited & consumed in all forms of media. The City Firm brings together artists and curators who go beyond the traditional gallery model for special projects and unique collaborations. The City Firm team: Laura O’Reilly, Sasha Okshteyn, Pamela Willoughby, and Alexander Clark.
For press inquiries, please contact:
Lainya Magana, email@example.com
PORTRAIT OF A GENERATION
June 7 – August 10, 2012
PORTRAIT OF A GENERATION
June 7 – August 10, 2012
Opening: June 7th from 6-9PM
The Hole is proud to announce the exhibition “Portrait of a Generation” where over 100 artists who make up the art scene here will pair up and exchange portraits with each other. This massive exhibition will serve to give image to a community of people, both renowned and emerging, who are dedicated to making artworks. The works will be hung salon-style on our walls of Gallery 1 and 2, and include painted, drawn and photographic portraits.
We are producing a catalogue for the exhibition, available July 1st, that will serve as a kind of yearbook for New York City in 2012.
Facebook event page here.
For information on available works please email firstname.lastname@example.org
Andrew Jeffrey Wright
Assume Vivid Astro Focus
Body By Body
Bruce High Quality
Fab Five Freddy
IO Tillet Wright
Lance De Los Reyes
McDermott & McGough
Oil on Canvas
Curated by Sasha Okshteyn
Black and White Gallery
483 Driggs Avenue
Laura O’Reilly aka Miz Metro
June 1 – July 1, 2012
Opening reception: Friday, June 1, 6-9pm
Black & White Gallery/Project Space, Brooklyn, NY proudly presets The Visitor – summer group show featuring artists working in film, drawing, sound, collage, painting and installation. Powerful and challenging works of Hayden Fowler, Kathy Grayson, Matt Jones, Cameron Michel, Laura O’Reilly aka Miz Metro, Micki Pellerano, and Vashti Windish open up portals to alternate universes, running simultaneously with our current time, existing somewhere between reality, myth, fantasy, and the post-apocalypse.
The title of the show is suggestive of the cult sci-fi film The Man Who Fell to Earth starring David Bowie. In the context of the show the viewer is the Visitor, an Other who is invited to penetrate the artists’ seemingly fantastical but plausible realms in an attempt to save his own personal home planet.
Hayden Fowler’s hedonistic environments numb our senses and challenge the art-historical notion of the Gaze in a post-apocalyptic dimension. Void of any timeline, Fowler’s hermetic world decontextualizes art-historical imagery and ideas within a Sci-Fi narrative. Kathy Grayson’s pixilated technique reminds us that everything we perceive comes from and is made up of multiple dimensions and realities. Grayson’s break down of mass leaves us with a sample of what once was or will turn into. Laura O’Reilly aka Miz Metro manipulates sound samples and explores the infinite possibilities of the human voice. In our age of endless media and over connection, O’Reilly explores the endless loop of information that is put out while sending out her own signals into the universe. The Loop becomes a portal that reconciles space and time. Matt Jones’s paintings pull us into the infinite abyss of the unknown universe. Suggestive of a peep hole, Jones’s space paintings introduce hidden layers of narratives and dimensions. Micki Pellerano’s captivating drawings explore psychological neuroses, rites of passage, and alchemical allegories in apocalyptic proportion. Whereas Micki’s drawings take one on a journey of one’s inner self, the collaborative work of Cameron Michel and Vashti Windish reveals an imaginary world where one can feel, wear and physically experience. Cameron and Vashti present a collection of images and artifacts of a world that lives deep in our solar system. They bring to our attention a system and way of life that might be currently alien to us but will soon have to be accepted as the norm.
In the outdoor project space, the NewVillager, an art and music group, will construct a ring of hundred objects to represent a diagram of the monomyth, a storytelling system the group uses to create their music and art. On June 1st, during the opening reception ten NewVillager players, along with anyone who decides to join, will make a pilgrimage to the repurposed Bobby Redd church at 626 Bushwick Avenue in Bushwick, where they will perform at midnight as a part of the Holy BOS! festival. The event will be filmed and a map of the objects and players will be made available. All objects will return to the project space and will be on view until July 1st.
Marker, Elmer’s Glue, Wood, Paper, and Toner on Plywood
Curated by Jon Newman
119 Ingraham Street
Opening 7-10pm June 1
Part of Bushwick Open Studios 2012 (and is open during BOS hours)
Brooklyn Fire Proof proudly presents “Usual Suspects”, a group portrait show covering various styles, mediums and personalities. Displayed like a police line up with “Good” next to “Evil” so that its adjacent association skews the nature of each image. Curator/artist Jon Newman includes an African mask, an 18th century portrait, and features 18 contemporary artists including: Erika Keck, Brian Novatny, Christy Singleton, Aaron Zimmerman, Jon Newman, Matt Jones, Bryan Sears, Joel Bacon, Amy Lincoln, Kevin Curran, David Henry Brown Jr., Jeff Grant, Ben Godward, Greg Kessler, Marc Grubstein, Rico Gatson, Bjoern Ebrecht, Nils Karsten, Oscar Newman and Kate Clark.
Eric Cahan in another dimension, 2012
Oil, Elmer’s Glue, Paper, and Toner on Canvas
36 x 24″
Matt Jones Space Portrait, 2012
C-Print mounted to DiBond
Unique Liquid Glass Edition
36 x 24″
Portrait Summer Show (actual title TBA)
The Hole NYC
June 7 – August 10
The Hole NYC is mounting a 200 artist summer exhibition. Each artist does the portrait of another artist (and vice versa). I’m paired with my bud Eric Cahan. There will be a book accompanying the exhibition. This show will most likely be amazing. More information soon!
The Atlantic Conference Presents: The Final Frontier – catalog now available here.
You can view it via Issuu.com, too!
The Atlantic Conference Presents:
The Final Frontier
“The truth is usually just an excuse for a lack of imagination.”
James T. Kirk
Opening and Closing Reception April 21, 2012, 7-10pm
340 Morgan Ave
FOR IMMEDIATE RELEASE
Art is a way one can express themselves without the concern of boundaries. I feel a lot of people often think of art as “being creative,” even though it’s much more than that. “Being creative” comes in various forms. The way you brush your teeth is creative because it’s your own technique; and the outfit you choose to wear out of the house in the morning is creative since it’s your own style.
I like the idea of there being another Tali Autovino in the universe somewhere, for I have spent several hours of my life trying to determine what animal I ‘ll reincarnate into in my next life, even though all signs point to an aardvark. I haven’t thought much about there being life on other planets, although David Bowie wrote a song about life on Mars.
I believe that if there is life on another planet, all the people will look like the Snorks. Our personalities will be represented by the color Snork we are, so developing relationships will be a lot easier. I’m not sure what the antennae thing on our heads will be good for, but like I said, we can “be creative” with it.
So, what do people mean when they say, “in an alternate universe…” or, “in what world…”? Your guess is almost as good as mine, even though I’m not sure what yours is. My guess is that when people say “in an alternate universe,” they mean “if things weren’t so bad, they’d be splendiferous,” even though that’s probably not true. We, as human beings, rely on a higher power whether that be God, a foreign world, or our mothers. It gives us a sense of comfort and sanctuary from a world that is entirely built on curiosity.
Tali Autovino, April 13, 2012
Confirmed artists include:
James Case Leal
Guy Richards Smit
more info: email@example.com
Horton Gallery, with its evocatively titled two-person show Evil Dead 2, pays homage to Romero’s glorious second stab by exploring expansive and ever-mutable revision. The setup seems sitcom-like; two artists and friends from Brooklyn display their process-heavy paintings shoulder to shoulder in a kind of Oscar/Felix cohabitation. Matt Jones is deep and celestial (the messy one), while gallery-mateKadar Brock aims towards a final inanimate cleanliness (Felix).
Brock’s canvases are the result of violently scouring and gouging older works to reveal a brittle, bone-colored surface pitted with holes. Not strictly subtractive, Brock adds synthetic neon sheens reminiscent of mini golf courses, Myrtle Beach and the mottled underside of skateboards. These nostalgic associations, aimed so heart-wrenchingly at the 90’s shaped hole in my heart, are belied by the obsessive and superficially embarrassed gesture of Brock erasing his past. The older work (colorful patterned paintings with compositions derived from Dungeons and Dragons) is literally expunged or “whitewashed” from his youthful oeuvre. Brock’s paintings are in a constant state of flux, and this latest iteration seems like the fragile and abused last stop. But maybe it’s not. The cheery anchor to Brock’s practice is that his constantly shifting system of reuse avoids preciousness, entropy and stagnation. Which is not completely unlike Romero’s lingering, pervasive spirit world.
Matt Jones meanwhile, displays large meandering starscapes that relay a surprising illusory depth. His “Energy Paintings,” made onsite, hint at a deeper, mystical method of mark making. On his website, Jones states:
“We live in a universe piled on other universes, each expanding a multiverse of near infinite possibilities and potential.”
Jones’ paintings seem like the natural outpouring of a curious adventurer who is still convinced that art is porous, open and navigable. The immediacy of his process is echoed by works that are seemingly unencumbered/unconcerned by their size and objecthood.
The artists’ paintings enjoy a kind of playful fraternity, hung glibly over doorframes and directly next to one another. Both are invested in capturing a zeitgeist of spirit through games of process and chance. And both distance themselves from the cynicism of art production to arrive at a surprisingly sweet and reverential take on painting.
Evil Dead 2 review by Eric Sutphin on Beard and Brush:
In the Berlin iteration of the painting-centric gallery Horton (their New York location is at 504 W. 22nd Street) Matt Jones and Kadar Brock again join artistic forces in a tripped out installation of phsycho-cellestial paintings. According to the press release, Brock cannibalizes old endeavors (his canvases) and sands away layers leaving disjointed fragmentary bits of the paintings former self, revealing a kind of hollowed out other. Jones continues to mine cosmological and spiritual symbols and systems in his voluminous new paintings resembling nebulae or cosmological events. In Jones’s Energy paintings, transparent passages of saturated color float in and through deep star-studded space. There is a hyper-activity of forms moving through the field but somehow the cacophony settles into paintings that are expansive and evoke a meditative silence. My auditory correlatives here are not too far flung, as both Brock and Jones often cite musical influences in their work. Brock and Jones met as undergraduates at The Cooper Union. They have remained engaged in a constant dialogue since their student days and intersections exist in their work. I saw Brock and Jones’s works side by side in 2007 in a group show when their work was louder, messier and more image laden. Fast forward to 2012, Jones’s paintings have become more complex in his synthesis of materials and subject. On the surface, Brock’s work appears more airy, simplified. Particles of the painting’s past hover over the distressed surfaces. Some of the works are hung with edges nearly touching, shoulder to shoulder. The paintings activate one another; Jones’s multiverse to Brock’s topographies.
Evil Dead 2 review by Rachel Simkover on Pigs (Berlin):
Kadar Brock and Matt Jones both push their materials to their limits. Although they each treat their materials in different ways, they set up very specific conditions in which the physical and chemical properties of the paint and canvas determine the final outcome. In the case of Kadar Brock’s paintings, the products are a result of a long process of adding and subtracting. The works shown at Horton Gallery are old paintings of his that he has scraped and sanded until holes begin to form on the surface of the canvas. He knows to stop the process when he can tell that the canvas can’t be reworked any more without disintegrating. The old works have been given a new life, but they show the wear and tear; they are “undead”. Time plays a different role in the paintings by Matt Jones. All of the work in the show is brand new and was created in Berlin in the Horton Gallery space. These “energy paintings,” as Jones calls them, are created like monoprints in which Jones has minimal control over the outcome. He tries to set up certain conditions based on his knowledge of the chemical properties of his materials, but once the materials have been brought together, what happens is beyond the artist’s control. Brock’s paintings are to Frankenstein’s Monster’s skin as Jones’s paintings are to the “scary stuff in the woods.”
Evil Dead 2 review by Devon Elise Atkins on Berlin Art Link:
Tonight at Horton Gallery in Kreuzberg, Zombie incarnations of abstract painting are out on show. Matt Jones and Kadar Brock are over from New York to let Berlin know that abstract painting still lives.
The title of the show is a reference to Sam Raimi’s horror film of the same name, a remake of his first attempt as opposed to a continuation of the story. Allowing oneself to reassess and reattempt what we have labeled as concluded, can results in something far more interesting then the initial work.
Kadar Brock first began scraping away the marks from paintings to interrogate the inherent expressiveness of mark making – “trying to scrape away as much as possible and see how much of it would still stick”. In his scraping and sanding, he discovered something more interesting, and it became another ritual all together. Kadar’s whited out and stripped back canvases are beautiful contemplations of the art making process – flecks of colour and pattern, depth and intrigue. Like the peeling layers of wallpaper in an old building, the works reveal unknown histories and imagined realities.
Matt Jones’ first Energy Painting was made in jest, to pick on a fellow art student. Years later, looking back through old works, Matt realised that there was something in the piece worth exploring.
The Energy Paintings are a balance between carelessness and containment, preparation and extraneous elements. Large blotches of color explode on the surface, receding into the black depths of the canvas, but looking closely, delicate fractal patterns are hidden amongst the density – drawing attention to the alchemy within the materials but also to the life that occurs outside of the artists control, but not against his will. An annihilation of self and inclusion in something greater.
Evil Dead 2
February 24-March 30, 2012
The gallery is pleased to announce Evil Dead 2, a two person exhibition in the main gallery featuring recent work from the Brooklyn based artists Kadar Brock and Matt Jones. In the project room, the Berlin based artist Friedrich Franke will present a selection of small canvases.
The exhibition’s title is taken from Sam Raimi’s classic horror film, Evil Dead 2, which was more of a remake of, rather than a sequel to, his first effort, Evil Dead. Brock and Jones, who have been close friends since their student days at Cooper Union and share a similar enthusiasm for painting and role playing games, see in Raimi’s remake a work that defines a commitment to the idea that a work of art is fluid rather than fixed. Inspired by Raimi’s conceptual rigor as well as his keen interest to work in the horror genre with a sense of reverence and obligation, both Brock and Jones have found unique ways to explore elements of transition, openness, revision, and, perhaps above all else, constant communication and dialogue.
For the past year and a half, Brock’s work has been cannibalizing his old, quite literally feeding off previous canvases that he had shown, sucking the color from them with burred grinders and sandpaper as surely as any vampire would an unsuspecting virgin. The mostly white canvases have a corpse like feel to them, which relates clearly and coldly to the body, suggesting what is left during an out of body experience.
Fluidity for Jones finds multiple nozzles. It is seen in his movement between the various modes of his working practice; or rather, the various ‘spaces’ his abstracted works depict. There are the silver bursts of the ghosts of ones’ own consciousness; there are white and black outer space paintings that optically frustrate and complicate the great infinite space of the cosmos with their attentiveness to surface; and there are the colorful orgies of his energy paintings, which exist in pure state (space) of possibility. For Evil Dead 2, Jones will create a series of energy paintings in the gallery in Berlin.
The genres of still life, landscape and portraiture – so often accused of limiting the experience and expression of art – are, for Friedrich Franke, a way to subtly confuse the distinctions between object and context. In his modestly scaled canvases, which Franke paints from memory and life, there is a certain intensity that reads as a knowing intimacy with the fragility and isolation of everyday life.
Die galerie präsentiert Evil Dead 2, eine Doppelausstellung in der Hauptgalerie mit aktuellen Werken von Brooklyner Künstlern Kadar Brock und Matt Jones.
Im Projektraum wird Berliner Künstler Friedrich Franke eine Auswahl kleinerer Arbeiten auf Leinwand präsentieren.
Der Titel der Ausstellung ist Sam Raimi’s Horror Klassiker Evil Dead 2 entnommen, das eher ein Remake als eine Fortsetzung des Vorgängers Evil Dead war. Brock und Jones, die seit ihrer Studentenzeit auf Cooper Union enge Freunde sind und einen ähnlichen Enthusiasmus für Malerei und Rollenspiele teilen, sehen in Raimi’s Remake eine Arbeit die eine Verpflichtung zu der Idee zeigt, das sich ein Kunstwerk im Fluss befindet statt statisch zu sein. Inspiriert von der konzeptuellen Strenge Raimi’s, sowie seinem grossen Interesse dem Horror Genre mit einem Gefühl von Ehrfurcht und Verpflichtung zu begegnen, haben sowohl Brock als auch Jones einzigartige Wege gefunden um Elemente des Übergangs, der Offenheit und Revision und vielleicht vor allem anderen der ständigen Kommunikation und des konstanten Dialogs zu erforschen.
In den letzten anderthalb Jahren waren Brock’s Arbeiten Kannibalisierungen seiner alten, im wörtlichen Sinne von vormals gezeigten Leinwänden zehrend, die Farbe aus ihnen heraussaugend mit Schleifmaschine und Sandpapier, so sicher wie ein Vampir bei einer ahnungslosen Jungfrau.
Die größtenteils weißen Leinwände haben etwas Leichenhaftes, sich klar und kalt auf den Körper beziehend und darauf hindeutend, was bleibt während einer außerkörperlichen Erfahrung.
Fluidität nimmt bei Jones mehrere Formen an. Sie ist in seiner Bewegung zwischen den verschiedenen Modi seiner Arbeitsweise zu sehen, oder eher in den verschiedenen “Räumen” die seine abstrahierten Arbeiten darstellen. Da sind die silbernen Ausbrüche der Geister der eigenen Bewusstseins, dort sind weiß schwarze Weltraumgemälde, die optisch frustrieren und die unendliche Weite des Cosmos verkomplizieren mit ihrer Aufmerksamkeit zur Oberfläche; und dort sind die bunten Orgien seiner Energiegemälde, die im reinen Zustand (Raum) der Möglichkeit existieren.
Für Evil Dead 2 wird Jones eine Reihe dieser Energiegemälde in der Berliner Galerie schaffen.
Die Genres Stillleben, Landschaftsmalerei und Portrait – so oft der Begrenzung der Erfahrung und des Ausdrucks von Kunst angeklagt, sind für Friedrich Franke ein Weg um auf subtile Weise die Grenzen zwischen Objekt und Kontext zu verwischen. In seinen bescheiden bemessenen Leinwänden, die Franke aus Gedächtnis und Leben malt, herrscht eine gewisse Intensität, die als seine wissende Intimität mit der Zerbrechlichkeit und Isolation des Alltags zu lesen ist.
FOR IMMEDIATE RELEASE:
casa de empeño
February 9 – March 31
Opening reception: February 9, 8 – 10 pm
Casa de Empeño is a group exhibition based conceptually on the function of a pawnshop and serves to examine current systems of economy, currency and exchange.
The entire 3,000 sqft of Anonymous Gallery (D.F.) will be re-designed to replicate a pawnshop environment. Based on the value of the artwork, the gallery will provide unique opportunities for collectors to own distinctive works of art through sale, loan or even trade.
At any given time, pawnshops might have an inventory that includes jewelry, gold, coins, computers, cameras, radios, tools, musical instruments, DVD movies, cell phones, dj equipment, bikes, books, paintings, prints, weapons, clothes, furniture, and more. Casa de Empeño will feature a compelling and diverse array of artists from all over the world who create relatable objects through painting, drawing, film, photography, sculpture, print, editions and design:
Sculptures reflecting hawked luxury accessories such as Shelter Serra’s Birkin Bags, intricate and unique jewelry design by artist Orly Genger, Jaclyn Mayer, and Sangre de mi Sangre, electronics and monitors displaying films from Kasper Sonne and David Ellis. Editions from Clayton Brothers, Todd James, Evan Gruzis, photographs from Richard Kern, and furniture design from Emmanuel Picault of Chic by Accident. The exhibition will also feature a library of artist books, zines, magazines, posters, and museum catalogues for sale from artists such as Lucy Raven and institutions including MUAC, Centro de La Imagen, Museo de Arte Carillo Gil, La Colección Jumex, among others
In a typical pawnshop customers pledge property as collateral, and in return, pawnbrokers lend them money. When customers pay back the loan, their merchandise is returned to them. If the loan is not returned the pawnshop sells this property. Anonymous Gallery however, will be providing several opportunities for its customers:
a. Customers can purchase available inventory at the available retail price.
a. Customers can offer a provided service of equal or greater value in exchange for selected artwork.
b. Customers can offer another item of equal or greater value in exchange for valuable artwork.
a. Throughout the duration of the exhibition customers can loan and consign works of art to the gallery for sale at an agreed retail price.
b. Customers can borrow or rent artworks for a specified duration of time based on a fee established by the gallery and selected artist
B>EN ESPAñOL ——————————————
PARA PUBLICACION INMEDIATA:
casa de empeño
Febrero 9 – Marzo 31
Recepción Inaugural: 9 de febrero , 8 – 11 pm
Casa de Empeño es una colectiva basada en el concepto y la función de una Casa de Empeño en la cual se re-examinan los actuales sistemas económicos, de divisas e intercambio.
Los 250 mts de Anonymous Gallery (D.F.) replicarán el ambiente de una casa de empeño. Tomando como punto de partida el valor de la obra, la galería proveerá de oportunidades únicas a los coleccionistas para adquirir piezas de arte a través de la venta, renta e incluso del intercambio.
Dentro de su inventario las casas de empeño incluyen joyería, oro, monedas, computadoras, cámaras digitales, radios, herramientas, instrumentos musicales, DVDs , teléfonos celulares, equipo de audio, bicicletas, libros, pinturas, grabados, armas, ropa, muebles y más. Casa de Empeño mostrará una irresistible y diversa selección de artistas de todo el mundo que han creado objetos relativos a estos objetos través de pintura, dibujo, video, fotografía, escultura, publicaciones, ediciones, libros de artista y diseño:
Las esculturas reflejarán un cambio en los accesorios de lujo, como las Bikin Bag’s de Shelter Serra; joyería de diseño único e intríncado de Orly Genger y Jacyn Mayer; equipo electrónico y monitores proyectando video de Kasper Sonne y David Ellis; ediciones de Clayton Brothers, Todd James, Evan Gruzis, fotografías de Richard Kern y el diseño de muebles por Chic by Accident serán parte de la muestra. La exposición también presentará una biblioteca con libros de artista, revistas, posters y catálogos de instituciones y museos como el MUAC, MACG, Colección Jumex y el Centro de la Imagen entre otros.
En una casa de empeño comun, los clientes dejan sus propiedades en garantía a cambio de dinero en efectivo. Cuando el pago es realizado en el tiempo estipulado, la mercancia es devuelta a su propietario. Si el préstamo no es regresado, la casa de empeño pone en venta el artículo. Bajo esta premisa, Anonymous Gallery brindará la oportunidad en diversas opciones para sus clientes:
a. El cliente podrá comprar sobre el inventario disponible al costo al público.
a. El cliente podrá ofrecer un servicio de igual o mayor costo en intercambio por la obra seleccionada.
b. El cliente podrá ofrecer otro objeto / producto de igual o mayor valor en intercambio por la obra seleccionada.
a. Durante el tiempo que dura la exposición el cliente podrá rentar o tener en consigna la obra con la posiblidad de compra.
b. Los clientes podrán tener en calidad de “préstamo” o renta la obra por un tiempo específico basado en una cuota establecida por la galería y el artista.