Domestic Disturbances
Curated by Joanne Freeman
Wednesday, August 9, 2017
Curator's Essay
Domestic
Disturbances features the work of eight artists whose work merges
functional and non-functional elements, highlighting the interplay of art and
design. Traditionally the use of craft and design was associated with
domesticity, functionality and decoration. These classifications have
contributed to a hierarchy that historically marginalized and
Tuesday, August 8, 2017
Installation Views
In the Front Gallery
Panoramic view of the front gallery from the entrance to the 490 Atlantic Gallery
From left: Sue Ravitz, Debra Smith, Elisa D'Arrigo on pedestal past doorway, Ravitz, Lael Marshall, Joanne Mattera
All works are identified on each artist's page. You can access those pages by clicking on to the artist's name in boldface
All works are identified on each artist's page. You can access those pages by clicking on to the artist's name in boldface
Smith, D'Arrigo, Ravitz
View of Smith, foreground, and Ravitz
Reorienting to look toward the entrance: Lael Marshall, Joanne Mattera
In the Middle Gallery
In the Middle Gallery looking toward the front
Here, Elisa D'Arrigo
Panorama of the middle gallery. From left: Patricia Zarate, Lizzie Scott, D'Arrigo on pedestal
Zarate, Scott
Patricia Zarate sculpture in corner, Elisa D'Arrigo on pedestal
D'Arrigo, Zarate
Scott, D'Arrigo
In the Back Courtyard
Monday, August 7, 2017
Elisa D'Arrigo
Shift into Orange, 2013, glazed ceramic, 7 x 14 x 10 inches
About the Work
These works are part of an ongoing series dating from 2010 in which the vase form is my point of departure. The dissolving and conflation of categories energizes me: sculpture, drawing, painting...and with this work, functionality. I seek the and, not the or.
These works are part of an ongoing series dating from 2010 in which the vase form is my point of departure. The dissolving and conflation of categories energizes me: sculpture, drawing, painting...and with this work, functionality. I seek the and, not the or.
My
pieces begin as hollow, hand-built clay elements that I combine and manipulate
in a period of intense improvisation: the clay is twisted, knotted, pinched,
poked and crushed. Chance is implicit; clay can assert its properties in
frequently unexpected ways. The “postures” that result allude to the body in a
gestural or even visceral manner. Although
not representational, my works can evoke both tender and tough “beings”. Their
animated corporeality pays homage to, and also unsettles the description
(originating with the ancient Greeks) of the structure of the vase form as
comprised of lip, neck, shoulder, body and foot.
I’ve
always been drawn to art that becomes more fully itself when used;
Bernini’s fountains speak more eloquently when animated by water, human
interaction reveals architecture’s intent, the appearance of
a Zapotec figurative censer was most likely dramatically transformed
when copal smoke emerged from its orifices.
The configurations of my works suggest what may be placed inside – function both following and trying to catch up with form. The viewer's action (real or imagined) of adding flowers is collaborative, furthering my embrace of chance processes while also introducing the possibility of a more intimate involvement between the work and the viewer: one involving touch and even domesticity.
Quixote, 2011, glazed ceramic, 5.5 x 7 x 7 inches
Around the Bend (2), 2017, glazed ceramic
Twisted (4), 2014, glazed ceramic, 6 x 7 x 8 inches
About the Artist
Elisa D’Arrigo was born and raised in the Bronx. She received a BFA in Ceramics from
SUNY New Paltz. Her work has been included in numerous group and solo
exhibitions. Selected solo shows include The High Museum of Art, Atlanta; PanAmerican
ArtProjects, Dallas; David Beitzel Gallery and Luise Ross Gallery, both New
York City; and nine exhibitions at the Elizabeth Harris Gallery, New York City,
which has been representing her work since the mid 1990s.
D’Arrigo’s work has been reviewed in various publications including The New York Times, Art in America, ArtNews, Sculpture, and The Partisan Review, and is represented in the collections of the High Museum of Art; The Mead Art Museum, Amherst, Massachusetts; The Mint Museum of Craft and Design, Charlotte, North Carolina; The Samuel Dorsky Museum of Art, New Paltz, New York; and the Weatherspoon Art Museum, Greensboro, N.C.
D’Arrigo has been a fellow at Yaddo and the MacDowell Colonies, and received grants from NYFA, The Ariana Foundation, and a work-space grant from the Dieu Donne Papermill. In 2013 she was a fellow at the Civitella Ranieri Foundation in Umbria, Italy. She lives and works in New York City.
Sunday, August 6, 2017
Lael Marshall
Untitled (LMP2013.46), cotton, latex, staples, wood; 14 x 14.25 inche
About the Work
These works are part of an ongoing series involving fabric.
I
am first drawn to an attribute of a woven cloth; whether it be the color,
pattern, texture or transparency, and use one or more of these qualities as a
starting point for my work. The addition of paint and/or glue, cutting and
re-ordering of the material back together again, and addressing the natural
tendency of the fabric to pull, torque or twist are all part of my involvement
and process with these works. I have no singular method or mode of working;
each piece must find its particular solution.
Crust, 2013; cotton, thread, rabbit skin glue, oil, wood; 2.5 x 17.25 inches
Carmine's, 2012; cotton, thread, wood; 20 x 16 inches
About the Artist
Born in Seattle, Lael Marshall studied at the University of Michigan, Ann Arbor, and received her MFA from The Academy of Fine Arts in Munich, Germany. Recent two-person and solo exhibitions include 57W57 ARTS and Dieu Donné Workspace Program with Emily Noelle Lambert, both in New York City, and This Quiet Commotion with Michael Voss at Mitart gallery in Basel, Switzerland. Her work has also been shown in group exhibitions at The Riverside Art Museum, Riverside, California; ParisCONCRET, Paris; SNO, Sydney; Parallel Art Space, Brooklyn; Visual Arts Center of New Jersey, Summit; Beers Contemporary, London; and Schema Projects, Brooklyn. Marshall held a 2014 residency at Dieu Donné Workspace, and is the 2014 recipient of The Acker Award for Visual Arts, San Francisco. She lives and works in New York.
Saturday, August 5, 2017
Joanne Mattera
Silk Road 205, 2014, encaustic on panel, 18 x 18 inches
About the Work My painting is chromatically juicy and compositionally reductive. I refer to it only partly tongue in cheek as “lush minimalism.” Each painting in the ongoing Silk Road series is a small color field achieved by layers of translucent wax paint applied at right angles. The series, which I began in 2005, was inspired by the shimmery quality of iridescent silk, hence the title, but quickly evolved into more expansive explorations of color. Silk Road is the most succulent painting I have done. It is also the most reductive. In plying a richness of material against the austerity of a (very subtle) grid, I set in motion a small-scale dynamic in which more and less jostle for primacy.
Silk Road 200, 2014, encaustic on panel, 18 x 18 inches
About the Artist
Joanne Mattera has had solo shows in New York
City at the Stephen Haller Gallery (1995)
and OK Harris Works of Art (1996, 2007) and in recent years has
participated in group shows at Margaret Thatcher Projects, the Elizabeth Harris Gallery, and DM Contemporary. She shows and is represented widely. In New York State she is represented by DM
Contemporary, Manhattan, and by Kenise Barnes Fine Art, Larchmont, where her
30th career solo, The Silk Road Paintings, took place in 2015. Recent group shows abroad include 10 Ways, curated by Lorenza Sannai, which was shown at galleries in Milan, Bonn, Berlin, and Paris; and Chromatopia, curated by Louise Blyton, in Melbourne.
Mattera’s paintings and works on paper are in the collections of the New Britain Museum of American Art, Connecticut; Montclair Art Museum, New Jersey; University Collections, State University at Albany; Connecticut College Print Collection; and the U.S. State Department. Mattera writes and curates regularly. In her Joanne Mattera Art Blog she often merges both activities. Mattera divides her time between Manhattan and Massachusetts. She is a member of American Abstract Artists.
Friday, August 4, 2017
Jim Osman
Panoramic installation view of the sculpture in the gallery's back yard. The work recreates in minimalist form the structure of the facade of the artist's childhood home
Detail below
About the Work
I combine, layer, and compress different kinds of space. The vessels that give these spaces form can be clear and tangible, like architecture and furniture, or symbolic like a flag, or just formal – a color. Combining these forms make for odd, unthought-of arrangements which once started are reconciled formally, all the while staying true to a notion of space that is convoluted, dense, and opaque yet somehow understood.
I combine, layer, and compress different kinds of space. The vessels that give these spaces form can be clear and tangible, like architecture and furniture, or symbolic like a flag, or just formal – a color. Combining these forms make for odd, unthought-of arrangements which once started are reconciled formally, all the while staying true to a notion of space that is convoluted, dense, and opaque yet somehow understood.
About the Artist
Jim Osman was born in New York City. He received his BA and MFA from Queens College (CUNY) in Flushing, New York, where he studied with Tom Doyle, Mary Miss, and Lawrence Fane. He has had solo exhibitions at Lesley Heller Workspace in Manhattan, Long Island University’s Kumbal Gallery, and Dartmouth College, Bowdoin, Maine. His work has been included in group shows at the Brooklyn Museum; Transmitter Gallery, Brooklyn; and the University of Texas at San Antonio. Osman received a NYFA Artist Fellowship in Craft/Sculpture in 2017. He teaches courses in three-dimensional design, sculpture, and public art classes at Parsons School of Design. He lives and works in Brooklyn, New York.
Thursday, August 3, 2017
Sue Ravitz
Jellybellies, 2015, silk and wool thread on canvas, 24 x 24 inches
About the Work
I grew up a small town girl, in Kalamazoo, Michigan. For generations the
women in my family did crafts. I always had projects going, but I was never
exposed to any formal artwork. When I had my family, in Chicago, I continued to
do handwork. I began seriously exploring color relationships after our kids
left home. I spent hours every day knitting small blocks of color patterns,
spreading them out on the floor, and considering how they related to each
other. At the same time my husband and I had been collecting art for many
years. We transitioned from loud neo-expressionist things to more reductive,
primarily monochrome paintings–all surface and color–to abstract work that
focused on surface, drawing, and color relationships. We moved to New York
about nine years ago.I was surrounded by more stimulation. I began making rugs
and thinking about pattern work, but my main focus was still color interaction.
My needlepoints began as simple pattern explorations, and I’ve been working on
loosening up
Curvaceous, 2017, silk and wool thread on canvas, 20.5 x 21.75 inches
About the Artist
In 2013 Ravitz had a one-person show at Mondo Cane in New York City that included three rugs, all the same pattern and colors, each made in a different technique with different material, and three paint-by-numbers of the rugs. In 2016, she was in a group show at Minus Space. Sue also directs and curates the program at 57W57ARTS.
Wednesday, August 2, 2017
Lizzie Scott
Drifter (Standing), 2016; flashe on muslin, textile, bubble wrap, wood; 45 x 28 x 24 inches
About the Work
My Drifters–hybrid textile-muslin object-paintings–are loosely based on the structure of sleeping bags. I wanted to create a form that functions as a painting but can still move through the world as an object, adapting to sites and situations as needed. The Drifters don’t have a fixed or determined mode of display; each one can hang on the wall or lie on the floor or drape over a stand. The Drifters get creased and a little beat up, and the rough patina of use becomes part of the surface. Their soft materials can take on an uncanny corporeality, or flatten into pure fields of color. They change with time and experience. Whether they are paintings or sculptures, I want the objects I make to be truly autonomous objects.I want them to be open to possibilities beyond my intentions and control. I want them to be generous and democratic in their relationship to the world.
My Drifters–hybrid textile-muslin object-paintings–are loosely based on the structure of sleeping bags. I wanted to create a form that functions as a painting but can still move through the world as an object, adapting to sites and situations as needed. The Drifters don’t have a fixed or determined mode of display; each one can hang on the wall or lie on the floor or drape over a stand. The Drifters get creased and a little beat up, and the rough patina of use becomes part of the surface. Their soft materials can take on an uncanny corporeality, or flatten into pure fields of color. They change with time and experience. Whether they are paintings or sculptures, I want the objects I make to be truly autonomous objects.I want them to be open to possibilities beyond my intentions and control. I want them to be generous and democratic in their relationship to the world.
Drifter (Leaning), 2016; flashe on muslie, textile, bubble wrap, wood; 66 x 27 x 5 inches
About the Artist
Lizzie Scott has been working with the intersections of textiles, painting and sculpture for nearly 20 years. She received her MFA from CalArts and attended the Whitney Independent Study program. She has had solo exhibitions at John Tevis Gallery, Paris; Galerie Gris, Hudson; The Jersey City Museum; and LMAK Projects, New York City. Her performances, sculptures and paintings have appeared in group shows including at Zurcher Studio and Rachel Uffner Gallery, both in New York City; Kate MacGarry Gallery, London; VAPA at Bennington College, Vermont; Ohio University Art Gallery; Sidestreet Projects, Los Angeles; and the Brooklyn Museum and the Bronx Museum of the Arts. Her work is in collections including the Whitney Museum of American Art, Museum of Modern Art, The Baltimore Museum of Art, and The RISD Museum.
Tuesday, August 1, 2017
Debra Smith
Shifting Meditation #2, 2015, pieced vintage silk, 14.5 x 14.5 inches
About the Work
In my recent series, Shifting Territory, I am focusing on gestural motions and the graphic aspects of my work. The foundation of the series comes from my collection of vintage kimono fabric and striped silk (deadstock originally intended to line suits) which I discovered in the Garment District of New York City 20 years ago.
I approach
fabric as poetic language and reinterpret the painterly through my meditative
process. I cut, piece, and meticulously fuse two layers of fabric capturing the
translucent quality of the kimono and silk. Within my work I believe I am
breaking all stereotypes associated with textiles, from ideas of craft to that
of “women’s work”. Though I am not a poet or someone who draws, I feel that my
use of vintage textiles as a medium brings a history, a weight, a poetry to the
work before I even begin to cut, sew and piece the material back together.
Through meticulous construction I infuse the work with air, movement and depth.
Expressing an emotion or a moment in time, I find the end result similar to
drawing, poetry and painting.
Shifting Meditation #7, 2015, pieced vintage silk, 14.5 x 14.5 inches
About the Artist
Debra Smith was born in Kansas City in 1971 and raised in Hannibal, Missouri. Pursuing
her interest in fashion and textiles, Debra Smith studied at the Italian
Academy of Fashion & Design, Lorenzo de Medici in Florence, Italy, before
receiving her Bachelor of Fine Arts from the Kansas City Art Institute with a
major in Fiber in 1993 and an Associate Degree in Applied Science from the
Fashion Institute of Technology in 2002. In 2012 Smith was honored as one
of the Women to Watch 2012: Focus on Fiber & Textiles from The National
Museum of Women in the Arts, Washington, D.C.
Smith's work has been shown internationally over the past two decades, including solo and group exhibitions: The Thread You Follow, Daum Museum, Sedalia,
Missouri; New American Paintings: Elmhurst Art Museum, Midwest Edition,
Elmhurst, Illinois; Rijswijk Textile Biennial, Rijswijk Museum, The Netherlands; Look & Listen, DUSK, Saint Chamas, France; Spring Revival, Markel Fine Art, New York City; Release
of Time, Anderson Museum of Contemporary Art, and In-between Spaces/ New Work,
Roswell Museum & Art Center, Roswell, New Mexico; Looking to The Left,
Julie Saul Gallery, New York City; Sense of Presence, Davidson Gallery, Brisbane,
Australia.
Monday, July 31, 2017
Patricia Zarate
Paintings for Corners (blue), 2006, fluid acrylic on wood, 48 x 3.75 x .50 inches
My
work is a process of creating images conjured from experiences of observation,
memory, visuals, words, and music. At present color, pattern, and light have
preoccupied me, how placement and relationship affect our perception. Working
in a variety of media including painting, drawing, and photography, I use
minimal and conceptual approaches, such as pairing, seriality, pattern,
repetition, and uniformity to construct my images.
Paintings for Corners (green), 2006, fluid acrylic on wood, 48 x 3.75 x .50 inches
About the artist
Patricia Zarate is a visual artist and curator. She has exhibited her work in the United States and in Croatia, Colombia, France, Germany, Netherlands, Puerto Rico, South Korea, and Thailand. In 2013 she was awarded a fellowship at BAU Institute in Otranto, Italy, and she was the recipient of an Individual Artist Support Grant from the Queens Council on the Arts. Also in 2013 Zarate co-founded Key Projects, an art space devoted to creating dialogue and community with other artists through group exhibitions. She received an MFA from Pratt Institute in Brooklyn, and a Bachelor of Business Administration from Baruch College, City University of New York. Born in Cali, Colombia, she currently lives and works in New York City.
Sunday, July 30, 2017
Joanne Freeman, Curator
Joanne Freeman in her studio
Photo: Ally Klemer
Joanne Freeman received a BS in Fine Arts from the University of Wisconsin and a MA in Studio Art from New York University. Her work has been exhibited in numerous solo and group exhibitions. Selected solo shows include; Kathryn Markel Fine Art, New York City; 490 Atlantic, Brooklyn; Lohin Geduld Gallery, New York City; Marc Jancou Gallery, Zurich, Switzerland); Au 9 Galerie, Casablanca, Morocco; White Columns, New York City; the Queens Museum, Queens, New York; and the University of Maine Museum of Art, Bangor. Freeman’s work has been reviewed in various publications including the New York Observer, ARTnews, Portland Press Herald, and online with Hyperallergic, Painters’ Table, and the Joanne Mattera Art Blog.
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