Archive for February, 2016

BEAUTIFUL LIARS at PROTO Gallery

Saturday, February 13th, 2016

 

BEAUTIFUL LIARS at PROTO Gallery

Curated by Molly Merson

February 20 – March 20, 2016

OPENING RECEPTION: Saturday, February 27, 6-8 pm

Memory is a battleground between imagination and facts. As historians of our own lives we appear inattentive and can barely distinguish between things that actually took place and those we’d like to believe were happening. And what about our memory of the events that we have not witnessed or lived through? Beautiful Liars delegates the job of recollecting the historical and mythological past to the artists: six women who, to paraphrase Robert Hughes, make us remember things they have not seen. The artworks in the exhibition employ a wide range of artistic forms and mediums to engage the viewer in their imaginary narratives. The stories told by the artists may not be entirely truthful, but they have a more important claim – the psychological and emotional veracity, the kind of truth that goes beyond the mere accuracy of facts, names and numbers.

Suzanne Goldenberg is a New York based artist, whose artworks engage with the aesthetics of mini- malism using found objects and materials. Her sculpture titled Cities We Want to Blow Up invokes the now failed revolutions of past and present, which ruminate in dreams and breathe too quietly in what are now retired objects. A rusted belt of old nails slumped over a wooden dowel, possibly the remnant of a disassembled loom, found on the rotting wood floor of an old barn in rural PA, becomes a bando- lier across Zapata’s heroic chest when leaned against the wall of Goldenberg’s studio.

Tatiana Istomina is Russian-born multimedia artist living in New York. Her series of watercolors titled Female elements is based on the archival photographs of four peasant women, who had been accused of working as “female executioners” for the Red Army during the Russian Civil War; all four women were executed by the White army in 1919. Istomina’s History paintings are based on the pho- tographs of the Soviet leaders made in the 1920-30s. The figures in the paintings are overlaid and

disrupted by geometric shapes derived from Suprematist compositions of Russian avant-garde artist, Kazimir Malevich, suggesting the common intellectual and psychological impulse behind the utopian visions of Russian revolutionaries and artistic avant-garde. Istomina’s silent video Historical Inquiry consists of excerpts from archival footage created in Russia between 1917 and 1939. Some of the clips come form the recordings of major historical events, while others show day-to-day life; the foot- age is manipulated by slow motion, inner looping and digital animation, which alludes to the visual language of the Russian avant-garde art.

Katerina Marcelja is a Brooklyn based artist. The histories she unravels are found, inherited and imagined; they come together from meandering in a landscape of emotional recollections. The materi- als she selects have had a previous life contributing to that landscape. Marcelja is interested in the layering of histories from the primordial to the most current and raw. Some of her objects are re-enact- ments of imagined ancestral drama. They are collections, recollections and assemblages of repeated histories, real and imagined.

Paz Perlman is an Israeli artist currently living in New York. Perlman’s fractured past, shaped by war, loss and migration, has created an urge, through art, to heal the space where time and events leave their hidden traces and scars; a fragile and unfolding process of discovery. Her works are like ruins in space, woven together from discarded materials such as broken branches and twigs, highlighting the continuous process of destruction and rebirth. The objects she creates are not necessarily beau- tiful in a traditional sense, but they convey the strength within vulnerability and the melancholic tran- sient nature of our existence.

Lynn Umlauf is an artist born in Austin, TX, who now lives and works in New York. Her paintings Marsyas and Apollo are part of a group of artworks she began in February 1993, after seeing Titian’s painting The Flaying of Marsyas. According to the Greek myth, Marsyas dared Apollo to a contest of music: he who played most beautifully would command the loser. Umlauf has abstracted the story into painterly compositions, which use color, form, and movement to express the ambition and failure of Marsyas. Like Titian, she sympathizes with Marsyas; he is a satyr with human pride and ambition, and the paintings shows his strength and vulnerability in contrast to the divine, violin-playing Apollo.

Florencia Walfisch is an Argentinian artist living and working in Buenos Aires. Her triptych Class of 1970 was born from encountering her old and forgotten school notebook that described the experi- ment she was asked to conduct in class as a child. The condensed violence of induced asphyxiation of an ant performed by a teacher as an exercise with a group of 9- and 10-year-olds seemed to bring into the classroom much of the violence of the outside world. From that memory came the selection of the words avión (airplane) and capucha (hood) in her work, with their relationship to the world of childhood and the sinister meaning they gained during the last military dictatorship in Argentina.

 

READING A WAVE at PROTO Gallery

Saturday, February 13th, 2016

 

https://www.artsy.net/show/proto-gallery-reading-a-wave

 

READING A WAVE at PROTO Gallery

Saturday, January 16, 2016 to Sunday, February 14, 2016

PROTO Gallery presents an exhibition of new Paintings by Ellen Siebers and Ian White Williams.

READING A WAVE presents work by two painters similarly engaged in a pragmatic process of recording quotidian studio circumstances through their painting. The resulting work remains as a relic, tied to the specific moments of its making. The work, in parallel to this concept, is a product of the act of rehearsing a memory. The memories of both Siebers and Williams are then reduced to a potent form; a testament to the power of the mind’s eye. These moments of receptivity, both with the environment and with painting material and process, are meditative but do not imply peacefulness. Both artists are interested in being totally available (not vacant) to the cacophony of interior and exterior stimuli. The results are paintings ‘from’ something real, remembered, imagined, seen, heard or felt; all are possible and none predetermined. The paintings are a record of the process of the translation of vulnerable, fallible, memory into movement and immediate form.

 

Studios for Early 2016

Saturday, February 13th, 2016

February and March 2016:


5th Floor Private: “The Cooper” 365 sq. ft.,  $750.00 (Available March 1)

4th Floor Share: “New Master” 300 sq. ft., $550.00 (Available now)

4th Floor Private: “Old Kevin II” 350 sq. ft., $750.00 (Available March 1)

 

We have a few studios that are available now or becoming available March 1, 2016. Contact us for details.