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SUMMARY:Lowell Boyers: Primavera Materia
DESCRIPTION:Lowell Boyers  \nPrimavera Materia \nMay 19th – June 30th\, 2012 \nOpening Reception: May 19th\, 2012\, 6:00 to 9:00 pm \n  \nDeborah Colton Gallery is pleased to present\, Primavera Materia\, the latest solo exhibition of paintings by New York based artist\, Lowell Boyers. The artist’s work was first seen at the Deborah Colton Gallery in the 2004 group exhibition Touch and Temperature: Art in the Age of Cybernetic Totalism\, curated by Michael Rees. Since then Lowell has had three solo exhibitions at Deborah Colton Gallery – in his 2006 solo exhibition Awakening\, his 2009 solo exhibition Emerge\, and in his 2010 solo exhibition Whispers of Becoming. \nIn Lowell Boyers’ new body of work entitled “Primavera Materia” the paintings seem to embody the expression of “Spring.” The heightened color and action of the form and figures appears to courageously burst off the canvas. Each painting suggests there is no distinction between the inside and outside of the figures\, and the expression of the landscape of the paintings appears like a piece or movement of music\, swirling\, exploding\, with diaphanous pours of paint\, eliciting suggestions of inner and outer textures of the figure’s current moment. Rich gardens of flowers\, star stuff\, wind and water\, and figural dimensions remain the culture of Boyers’ creations\, but more and more these works maintain a flourish that harnesses both a expression of boundless symphonic musical texture as well as a rounded meditative stillness. The naked canvas suggests a fertile ground from which each note bursts like seedlings from the soil\, promising and delivering wide swaths of ecstatic painterly joy. The title also references the painting “Venere dinotando la Primavera” by Botticelli. Various interpretations of the painting by Botticelli have been set forth\, but it is generally agreed that at least at one level the painting is\, as characterized by Cunningham and Reich (2009)\, “an elaborate mythological allegory of the burgeoning fertility of the world.” Boyers appears to embrace the heart of this characterization\, but his paintings suggest there is no need for allegory for there is an unending\, flourishing majesty and fertility of the world that stems moment to moment from within. \nTo quote Lowell\, “The creative impulse can cut through habitual phenomena\, how we see things\, feel things\, our perception of self\, our notion of body\, birth and death\, of appearance.” His creativity has successfully cut through the mundane converging boundaries into springboards for liberation. Lowell states\, “I see the creative imagination as a birthright belonging to every being\, and my work is fundamentally a textural portrayal of the unfolding blossoming of various stages of awakening to that active nature.” \nHaving received his BFA from the Rhode Island School of Design and his MFA from Yale\, Lowell Boyers currently lives and works in New York City and exhibits his work in New York\, nationally and internationally. \nDeborah Colton Gallery is founded on being an innovative showcase for ongoing presentation and promotion of strong historical and visionary contemporary artists world-wide\, whose diverse practices include painting\, works on paper\, sculpture\, video\, photography\, performance and conceptual future media installations. The gallery aspires to provide a forum through connecting Texas\, national and international artists to make positive change. \n  Save  
URL:https://artinamericaguide.com/event/lowell-boyers-primavera-materia/
LOCATION:Deborah Colton Gallery\, 2445 North Boulevard\, Houston\, 77098\, United States
CATEGORIES:Exhibition
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DTSTART;TZID=America/Halifax:20120509T080000
DTEND;TZID=America/Halifax:20120509T170000
DTSTAMP:20260403T135227
CREATED:20190424T132537Z
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SUMMARY:The Rule and its Exception\, Part I
DESCRIPTION:The Rule and its Exception \nMay 9th to May 12th\, 2012\, All Galleries. \nMay 19th to June 30th\, Vignette Galleries. \nOpening Reception: Wednesday\, May 9th\, 2012\, 6:00 to 9:00 pm \n  \nSHIVA AHMADI   SOODY SHARIFI   ROYA AKHAVAN   KHOSROW HASSANZADEH    \nAYAD ALKADHI   REZA DERAKSHANI   KEZBAN ARCA BATIBEKI    POURAN JUNCHI  \nNEGAR AHKAMI  GHASEM HAJIZADEH   AFSOON   FARIDEH LASHAI   SHOJA AZARI  \n  SHAHRAM KARIMI \n  \nDeborah Colton Gallery\, in conjunction with New York based Leila Heller Gallery\, is pleased to present The Rule and its Exception. Drawing from traditions of miniature painting\, ornamentation\, figuration and calligraphy\, this group exhibition presents a series of varied practices that speak to the contemporary realities of many individuals stemming from the region of the Middle East. \nIrreverently borrowing from and combining cultures\, which span centuries and continents\, the works presented in this exhibition are complex in the manner in which they seamlessly layer visual queues from politics\, geography\, society and art historical references. \nCollage\, painting\, photography\, video\, digital printmaking come together to form an alternative mapping of social and artistic concerns. This mapping\, through the inherent complexity of its structure\, resists flattening to simplistic stereotypes\, and nor could it be embodied in something as monolithic as a statement or a rule. The selection of artists challenges all categorization\, starting from the geographic and social\, but perhaps most directly\, they challenge the very categorization of artistic mediums. \nShiva Ahmadi’s miniature panoramas develop an intriguing set of symbols and characters\, which reference ancient mythology and religious iconography. The scenes depicted are suggestive narratives on hybrid infrastructural backgrounds floating between Esfahani mosques and nuclear reactors. The faceless dwellers of these non-places are tyrant figures\, subservient minions\, camels and elephants involved in a series of obscure and at times seemingly shady activities. \nSoody Sharifi’s most recent digital collages stage strange encounters in Tehrani public spaces where young men on scooters meet warriors armed with sticks\, stones and daggers transposed from the pages of old manuscripts and miniatures. The work offers a strange layering of gendered violence across histories all through seemingly playful yet eerily offputting digital collages. \nRoya Akhavan works with singular or multiple canvases to present lush compositions\, which make use of symmetry and repetition to create vibrant\, colorful surfaces. The surfaces are then further labored with thread\, highly rendered sections as well as fine line pencil drawing. The resulting imagery is an intriguing array of tattooed guardians\, dagger jugglers and motifs\, which unlock open ended potential for interpretation in viewers’ imaginations. \nKnown for his larger than life paintings\, which incorporate grungily screen printed Pahlavan and Kushti wrestlers\, Khosrow Hassanzadeh now turns his attention to the female figure. The dark streaky prints are replaced with light and loose color pencil work and a layering of paint and imagery is replaced by a focus on lightness and immediacy of gesture. These simple yet captivating nudes are paired with brightly colored repurposed floral wallpaper\, which comprise an ornate backdrop. The entire image is then contained within an ostentatious gold frame reiterating the opulence of the poses. \nAyad Alkadhi’s approach to painting is a physical struggle in mark making where strata upon strata of content get buried under one another. The works typically start with a ground of yellowed newspapers pasted onto the canvas\, upon which the artist frantically sketches in black and sanguine: bodies\, embryos\, faces\, feces\, but also thoughts and scribbled notes. A second layer obscures this phase with a heavy handed a la prima brushwork\, then a third phase overlays controlled and contained bright colored outlines\, delicate calligraphic lettering and so on. An Iraqi exile\, AlKadhi has for several years now been exploring the complexities inherent in negotiating a life in the shadows of conflict. \nReza Derakshani is a painter\, musician and performance artist. Born and raised in the rural Northeast of Iran\, a fascination with the grandeur and beauty of nature has remained a theme in his large-scale colorful abstractions. Often adhering sand directly to the canvas\, Derakshani has a mastery of his materials and is well versed in the language of abstraction. Often very large\, his works can at times even become full fledged murals and frescoes. \nTurkish artist\, Kezban Arca Batibeki creates mixed media paintings which often feature larger than life female figures who range from sexualized nonchalant piles of bodies\, to empowered muscular heroines dynamically swinging from trees. Batibeki’s paintings also sometimes stage more elaborate narratives\, where diabolique-style plots seem to be in mid unraveling. The medium ranges from paintings incorporating sequins\, carpet\, embroidery and acrylics\, as well as elaborately composed digital photography. \nPouran Jinchi’s densely cluttered calligraphic compositions are exercises in composition and entropy\, of taking and shedding shape and of breath and suffocation. Often repeating a singular letter\, using a minimal palette of up to 3 or 4 colors and employing repetition and rotation; the works have extraordinary movement\, rhythm and charge despite their reductive nature. The work can also be traced back to the traditional Siah-Masq technique of perfecting calligraphy\, which consists in the repetition of a letter to the extent of completely saturating the paper with ink. \nThrough painting and sculpture\, Negar Ahkami presents a criticality towards and a fascination with her native Iran and its culture. Melting and softening rigid and erect patriarchal architectures from mosques\, nuclear reactors and discombobulated tile work\, Ahkami’s world is not dissimilar to a surrealist landscape. Indeed this surrealism speaks to a complicated and at times hard to believe geo-politic\, which Ahkami addresses through the employment of Eastern and Western artistic tropes and discourses. \nClearly based on an archive of old photographs\, the paintings of Ghasem Hajizadeh often carry the material damages of the overly handled pictures they reference. Aged\, dog-eared and yellowed\, the works depict characters from an era past and carry within them a sense of loss that is not quite identifiable. \nThese often broad shouldered female figures dwell on the edges of gender\, bending it\, reshaping it and casting doubt on the certainty of its segregation. \nAfsoon is known for her series of portraits of iconic figures in Iranian\, Middle Eastern and international art\, culture and society. These digital photo collages draw from pop art\, and often feature black and white bust portraits on elaborate and colorful backgrounds comprised of repeated product packaging\, album covers and other popular vernacular. The graphically simple portraits range from legendary Iranian singer Googoosh\, to Winston Churchill. \nFarideh Lashai is one of the seminal painters of a generation of Iranian artists. Her more recent work has seen her move away from the abstract expressionism that she had become so well known for\, in order to push the boundaries of her practice into animation. Still serving as the basis of her artistic practice\, her paintings have now become backdrops upon which animated figures are projected. Thus the painted sections actively interact with the content of the video aspect of the work\, in order to elaborate on short and simple stories which stand as complex metaphors for the historical and political realities\, which have plagued Lashai’s native Iran for decades. \nShoja Azari and Shahram Karimi have distinct practices on their own\, the first as a video artist and the latter as a painter. Together they have worked on a series of collaborations which merge their respective sensibilities in order to create layered and rich landscapes. These video projections on painted canvases create kinetically active landscapes which draw inspiration from sources as varied as bustling cities to the shifting of the seasons. \nThe Opening Reception is co-sponsored by the Society of Iranian-American Women for Education (SIAWE)\, a nonprofit charitable and non political organization dedicated to providing educational support through scholarships and promoting Iranian Culture. A portion of all sales throughout this exhibition will also go to this fine organization. \nLeila Heller Gallery\, based in New York City\, has established a worldwide reputation in both the primary and secondary art markets. Known for an active and innovative exhibition schedule\, the gallery’s primary focus is the representation of a group of international contemporary artists\, with a specialization in artists from the Middle East. Our mission is to inspire vital dialogues among artists\, curators\, collectors and critics\, and to provide a forum where these exchanges can take place. \nDeborah Colton Gallery\, based in Houston\, is founded on being an innovative showcase for ongoing presentation and promotion of strong historical and visionary contemporary artists world-wide\, whose diverse practices include painting\, works on paper\, sculpture\, video\, photography\, performance and conceptual future media installations. The gallery aspires to provide a forum through connecting Texas\, national and international artists to make positive change. \n  Save  
URL:https://artinamericaguide.com/event/the-rule-and-its-exception-part-i/
LOCATION:Deborah Colton Gallery\, 2445 North Boulevard\, Houston\, 77098\, United States
CATEGORIES:Exhibition
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DTSTART;TZID=America/Halifax:20120316T080000
DTEND;TZID=America/Halifax:20120428T170000
DTSTAMP:20260403T135227
CREATED:20190423T153454Z
LAST-MODIFIED:20190424T130252Z
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SUMMARY:FotoFest 2012 Biennial Exhibition: A Moment in Houston
DESCRIPTION:Suzanne Paul\n\n\nMarch 16\, 2012 to April 28\, 2012\n\n  Save  
URL:https://artinamericaguide.com/event/fotofest-2012-biennial-exhibition-a-moment-in-houston/
LOCATION:Deborah Colton Gallery\, 2445 North Boulevard\, Houston\, 77098\, United States
CATEGORIES:Exhibition
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DTSTART;TZID=America/Halifax:20120316T080000
DTEND;TZID=America/Halifax:20120428T170000
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SUMMARY:FotoFest 2012 Biennial Solo Exhibition: Focus on Russia II
DESCRIPTION:Oleg Dou\n\n\nMarch 16\, 2012 to April 28\, 2012\n\n  Save  
URL:https://artinamericaguide.com/event/fotofest-2012-biennial-solo-exhibition-focus-on-russia-ii/
LOCATION:Deborah Colton Gallery\, 2445 North Boulevard\, Houston\, 77098\, United States
CATEGORIES:Exhibition
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DTSTART;TZID=America/Halifax:20120316T080000
DTEND;TZID=America/Halifax:20120428T170000
DTSTAMP:20260403T135227
CREATED:20190422T130838Z
LAST-MODIFIED:20190422T130838Z
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SUMMARY:FotoFest 2012 Biennial Main Exhibtion: Focus of Russia I
DESCRIPTION:Deborah Colton Gallery \nFotoFest 2012 Exhibitions \n  \nMarch 16\, 2012 – April 28\, 2012 \nOpening Reception: Saturday\, March 24\, 2012\, 6:00 – 9:00 pm \nArtist Talk: Oleg Dou\, Saturday\, March 17\, 2012\, 2:00 pm \nArtist Talk: Olga Tobreluts\, Sunday\, March 25\, 2012\, 12:00 pm \nArtist Q&A: Jay Rusovich with Deborah M. Colton\, Sunday\, March 25\, 2012\, 1:00 pm \n  \nDeborah Colton Gallery\, a participating space in the FOTOFEST 2012 Biennale\, is pleased to present a series of exhibitions showcasing Russian artists Olga Tobreluts\, the Gallery’s main exhibition\, Focus on Russia I\, and Oleg Dou\, a Vignette Exhibition\, Focus on Russia II. The Gallery will also feature the Solo Exhibition\, Unleashed\, by artist Jay Rusovich\, as well as Vignette Exhibitions by French artist Jean-Daniel Lorieux\, Suzanne Paul\, Jonas Mekas and select Chinese contemporary artists. These exhibitions open on Saturday\, March 16th with a public reception on March 24th from 6:00 to 9:00 pm \n  \nOlga Tobreluts \nFocus on Russia I \nBorn in 1970 in Murino\, Leningrad Oblast\, Russia\, Olga Tobreluts (née Komarova) now lives in St. Petersburg. Trained as an architect\, she graduated from the Architectural Technical Secondary School in 1989. In 1991\, she enrolled in a course in computer graphics at the Art Com Institute in Berlin. Since 1993\, she has actively worked with video and computer art. Since 1998\, she has worked as a curator for a number of photography exhibitions at the photography center of the club “Mama.” \nAn artist who works with photography\, video\, painting\, and design\, she is a pioneer of digital art in Russia and has belonged to the Neo-Academism group of artists in St. Petersburg since 1994. In her work\, Olga uses new media as a means of expressing her own system of poetics based on the dialectics of high and low academism: where the artist endeavors to strike a balance between high-style classical models and low-brow\, kitschy\, and crude models. \nFrom 1997 to 1998\, she experimented with the adaptation of characters (primarily in the three-dimensional form of sculptures) within a digital virtual space. These experiments provided the basis for her most famous work—a series of paintings based on the play Emperor and Galilean by Henrik Ibsen\, where she keenly creates commentary on historically established conceptions of beauty\, as well as a variety of other works. Her work\, Emperor and Galilean\, was shown at the State Russian Museum in St. Petersburg and Henie Onstad Kunstsenter in Oslo\, leading to the publication of a book. From 1991 to 2005\, she participated in over a hundred group exhibitions and had many solo exhibitions. In 2005\, she stopped taking part in group exhibitions so she could work on a new series of paintings. Olga’s works are in such collections as the State Russian Museum\, St. Petersburg; State Tretyakov Gallery\, Moscow; Ludwig Museum in the State Russian Museum\, the Museum of Modern Art in New York City\, New York\, United States\, and she has been featured in most major international contemporary arts and fashion magazines such as\, W Magazine\, Vogue\, Vogue Paris\, Vogue Russia\, Vogue Germany\, Art Actuel\, Flash Art\, and ArtReview\, among others. \n  \n\nOleg DOU \nFocus on Russia II \nAlso on exhibition during the FotoFest 2012 Biennale\, the Gallery presents FOCUS ON RUSSIA II\, a Vignette Exhibition of photographic works from Oleg Dou. \nOleg DOU was born in 1983 in Moscow and graduated from the Moscow State Institute of Steel and Alloys in 2006. Since then\, he has worked as an artist in cooperation with galleries and curators around the world. \nOleg’s work is continuously inspired by this interest in human individuality and self-expression and the attempts to solve the problem of identity in our age. Visually inspired by the culture of fashion and surrealists\, his Naked Faces project is devoted to the relationship between a human’s inner self and his behavior in society and proposes that the expectations of society set the standards of behavior and thought in terms of what is appropriate and acceptable. \nHis Toystory series features children in the character of cartoons or animations popularized and favored by children around the world. In this case\, however\, there’s a hint to be detected of something calm\, cool\, and strangely dreadful. The faces themselves become the canvases by which Oleg expresses his interest in the human condition\, adding graphic expression to photographic reality. These images\, which look cute but wicked\, poker-faced but subtly appealing\, are yet another iteration of his creative consideration as he maintains his journey to explore the depths of human nature. \nSince 2007 Oleg has won several International awards and his photographs were represented at the photographic festivals around the world including the Pingyao International Photography Festival (China)\, the Seoul Photo Festival (Korea)\, the FotoFestival Naarden (Netherlands)\, and the International Photography Awards. His works were exhibited twice at the Kandinsky Prize (2007 and 2008)\, the main contemporary art exhibition award in Moscow. His work is scheduled to be exhibited internationally in solo and group shows throughout this year. His work has also been featured in publications worldwide. \n  \n  \nJay Rusovich \nUnleashed \nJay Rusovich is known for his conceptual\, controversial style which can be described as intuitive\, engaging\, intense\, direct\, quick-witted…and tinged with irony. Jay Rusovich debuted at the Deborah Colton Gallery in the spring of 2005 with the visually provocative solo exhibition\, Inside Out. Since then Jay has had numerous solo exhibitions\, including a collaborative exhibition with the Dominic Walsh Dance Theatre last year. Jay Rusovich was born in New Orleans and has received degrees from Tulane University in English and Theater\, and also attended Oxford University in England\, The University of Arizona and Loyola University in New Orleans. After graduating\, he moved to New York City where he studied Method Acting at The Lee Strasberg Institute. Rusovich also attended The Actor’s Institute for Shakespearean Studies and TVI Actors Studio in NYC. \nRusovich’s career began with a used Nikon 35mm camera when he started booking photo sessions with fellow aspiring actors who were always in need of headshots. For the next 20 years\, Rusovich traveled the world\, photographing people for advertising agencies\, Fortune 500 Companies and major publishing houses\, principally in New York and Los Angeles. He is known for his controversial style\, which can be described as “intuitive\, engaging\, intense\, direct\, quick-witted…and sometimes tinged with irony.” \nRusovich hammers traditional paradigms through searing imagery that asks the viewer to suspend all judgment\, as things are rarely what they seem. A woman enjoying a fresh bowl of bullets while surfing the Internet for Prince Charming — to a woman carrying her child her in mouth like a wolf – it becomes obvious that what we see on the outside is rarely a reflection of what’s behind the curtain. \n“I see no reason to photograph anything that doesn’t make a statement of some kind. Beauty for the sake of itself is\, in the end\, dismissive and ugly. And while my work does rely heavily on lighting technique and photographic balance\, which are critical to great photography\, I’m not a fan of anything that doesn’t challenge me in some way…” – Jay Rusovich \n  \nJean-Daniel Lorieux \nThe Master and Margarita \nFrench artist\, Jean-Daniel Lorieux\, is one of the masters of photography of his generation. His high-contrast style connects the models with fashion\, with a subtle and distinguished eroticism. Jean-Daniel is sought after for his celebrity photographs and portraits ranging from former President of France Jacques Chirac\, Actress Isabelle Adjani\, International Models Karen Mudler and Claudia Schiffer\, Prince Albert of Monaco\, Fashion Designer Kenzo\, and other iconic individuals. In 2011\, Jean-Daniel had exhibitions in New York\, Brussels\, Paris\, Dubai and Cannes. He is also releasing a book of photographs\, published by Michel Lafon\, and a documentary movie\, retracing the atypical path of the artist \nThe exhibited series is based on the famous book\, The Master and Margarita. It is a novel by Mikhail Bulgakov\, woven around the premise of a visit by the Devil to the fervently atheistic Soviet Union. Many critics consider the book to be one of the greatest novels of the 20th century\, as well as one of the foremost Soviet satires\, directed against a suffocating bureaucratic social order. \nSuzanne Paul \nA Moment in Houston \n Suzanne Paul\, who passed away on March 14\, 2005\, was an important part of the Houston art world. Suzanne documented many of the artists\, curators\, collectors\, gallery owners who shaped the Houston art scene since the 1970’s through the millennium. A BFA from the University of Houston and then did graduate work at the University of California at Berkeley\, Paul became active in the Houston art world when the Contemporary Arts Museum Director\, Jim Harithas hired her to document artists and exhibitions for museum catalogues. Among her first artists she photographed were Dick Wray\, Julian Schnabel\, Terry Allen and Norman Bloom. Later she photographed artists such as Lucas Johnson\, Richard Stout\, The Art Guys\, David McGee\, Michael Tracy\, Mel Chin\, Edward Albee and Angelbert Metoyer\, many of whom were featured in her FotoFest exhibit\, Being There\, in 2001. In addition she photographed Houston curators and patrons such as Jim Harithas\, Walter Hopps\, Anne Tucker\, Alison De Lima Greene\, Alfred Glassell and Edward Mayo. \nSuzy Paul has a remarkable way of capturing the spirit and soul of people with her camera” said Being There curator and Director of the Galveston Arts Center\, Clint Willour. “Throughout her career\, it was her black and white portraiture work that I think has always been her greatest strength as an artist” Suzy continued her to photograph artists throughout her life. “They are people that I know and love”\, she said. “I am drawn to creative people because they are more on the edge….” Her feelings about artists were almost \nalways reciprocated. She once asked Lucas Johnson why artists let her photograph them\, and he responded ‘because you are an artist”. \nBefore he passed away\, Walter Hopps was quoted in the 2001 FotoFest Being There Catalogue\, “Suzanne Paul should now be recognized as one of the finest photographers to come out of Houston. Her essential medium is black & white photography\, and her most important subject matter is portraiture. The portraits in this exhibition largely focus on people associated with the arts of Houston or those who pass through. Not all photographers are skilled printers of their work. Paul is a superb printer achieving areas of deep black in lines with her instinct for the chiaroscuro lighting of the subject. Having been the subject of one of Paul’s portraits\, I have experienced the directness and honesty of her work. She has caught an unidealized view of who I am.” \nSuzanne Paul exhibited extensively for over 35 years before her passing in March of 2005. She was in numerous group and solo exhibitions in gallery and museum exhibitions throughout the United States and her work is many important private and public collections. \nSuzanne Paul’s Memorial Reception was on March 25th\, 2005 at sunset on Good Friday at the Deborah Colton Gallery’s original Gallery space at 2500 Summer Street. “This was the way Suzy had wanted it. We hosted an exhibition highlighting her work along with a Memorial Room where we had beautiful light shining through our large industrial windows looking out at the Houston downtown skyline. Suzy used to spend the most time in this room when she was visiting me and she came often. Hundreds of people came that day to pay their respects to someone we all loved”\, says Deborah M. Colton. Suzanne Paul left us with a compelling visual documentation of our City’s art history and in doing so\, of humanity itself. \n  \n\nJonas Mekas \nJonas Mekas was born in 1922 in Semeniskiai\, Lithuania. In 1949 he emigrated to the U.S. together with his brother\, settling in New York. He has been one of the leading figures of American avant-garde filmmaking playing various roles: in 1954 he became editor-in-chief of Film Culture; in 1958 began writing his “Movie Journal” column for the Village Voice; in 1962 co-founded the Film-Makers’ Cooperative (FMC) and in 1964 the Filmmakers’ Cinematheque\, which eventually grew into Anthology Film Archives. His own output includes\, among other films\, narrative films (Guns of the Frees\, 1961) to documentaries (The Brig\, 1963) and to “diaries” such as Walden (1969)\, Lost\, Lost\, Lost (1975) and As I was Moving Ahead\, and Occasionally I Saw Brief Glimpses of Beauty (2001). Known as an artist\, filmmaker\, art critic\, curator and icon of contemporary American Culture\, Mekas documented the era that promoted peace through his acclaimed independent film and still frame photography\, which features Yoko and John in Happy Birthday John and Bed-In for PEACE. His films have been screened extensively at festivals and museums around the world. In 2005 he represented Lithuania at the Venice Biennale\, the exhibition was noted with Special Mention price for extraordinary presentation of contemporary classic artist. \nIn 2011 Jonas Mekas was honored at the Los Angeles Film Critics Association’s award ceremony for his significant contribution to American film culture and had a solo exhibition at Ludwig Museum in Cologne\, Germany. His previous projects include extensive presentation at Serpentine Gallery\, London in 2010. This year in Mekas\, now about 90 years old\, is exhibiting portrait works with his longtime friend\, photographer Robert Polidor at the Edwynn Houk Gallery in New York. \nThrough his accomplished career as a filmmaker\, visual artist\, writer and organizer\, Jonas Mekas has received awards from New York State Council on the Arts\, Rockefeller Foundation\, National Endowment for the Arts\, as well as the Golden Medal from Philadelphia College of Art\, “For the devotion\, passion and selfless dedication to the rediscovery of the newest art.” \nMekas is also the honored recipient of the following awards: Guggenheim Fellowship in 1966\, Creative Arts Award in 1977\, Brandeis University in 1989; Mel Novikoff Award at San Francisco Film Festival\, 1992; Chevalier de l’Ordre des Arts et des Lettres from Ministry of Culture\, France in 1992 and 2000; Lithuanian National Award\, 1995; Doctor of Fine Arts\, Honoris Causa from Kansas City Art Institute in 1996; Special Tribute\, New York Film Critics Circle Awards in 1996; Pier Paolo Pasolini Award\, Paris in 1997; International Documentary Film Association Award\, Los Angeles\, 1997; Governors Award\, Skohegan School of Painting and Sculpture\, 1997; Artium Doctoris Honoris Causa\, Universitatis Vytauti Magni\, Lithuania in 1997. \n  \nContemporary Photographers from China:\nQing Qing\, Xu Yong & Yu Na\, and the Gao Brothers \nChinese contemporary art reached a turning point in the early 21st Century. FotoFest 2008 highlighted these revolutionary changes that were revealed so clearly in the artist’s photographic expression. During this time\, Deborah Colton Gallery presented\, China Under Construction\, Contemporary Artists from the People’s Republic. This exhibition was featured in Houston during same time as the MFAH’s Chaney Family’s Collection Red Hot China Exhibition in the summer of 2007 and was revealed in even a stronger representation during FotoFest 2008 at Deborah Colton Gallery as China Under Construction II: China’s Contemporary Art of the Everyday Comes of Age. The curator of both exhibitions was art critic\, curator and writer\, Maya Kavskaya. Both exhibitions gained a great deal of local\, national and international press and attention which is revealed under Past Exhibitions of the www.deborahcoltongallery.com website\, Reviews for these exhibitions. A catalogue was also published. \nBoth exhibitions at Deborah Colton Gallery were at the forefront of the new trajectory. Though after the 2008 FotoFest exhibition\, most of the work in these shows were either sold or sent back to China\, there were select works that could not be sent back due to their content. In FotoFest 2012\, the Deborah Colton Gallery presents these provocative and challenging visually and conceptually photographic expressions that address the artist’s view of the current issues in China and reveal now also a bit of history. \n  \nDeborah Colton Gallery is founded on being an innovative showcase for ongoing presentation and promotion of strong historical and visionary contemporary artists world-wide\, whose diverse practices include painting\, works on paper\, sculpture\, video\, photography\, performance and conceptual future media installations. The gallery aspires to provide a forum through connecting Texas\, national and international artists to make positive change. \n  Save  
URL:https://artinamericaguide.com/event/fotofest-2012-biennial-main-exhibtion-focus-of-russia-i/
LOCATION:Deborah Colton Gallery\, 2445 North Boulevard\, Houston\, 77098\, United States
CATEGORIES:Exhibition
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BEGIN:VEVENT
DTSTART;TZID=America/Halifax:20110514T103000
DTEND;TZID=America/Halifax:20110625T173000
DTSTAMP:20260403T135227
CREATED:20190419T201821Z
LAST-MODIFIED:20190423T183814Z
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SUMMARY:Sharon Kopriva: Cathedrals\, Phantoms and Naked Dogs
DESCRIPTION:Sharon Kopriva \nCathedrals\, Phantoms and Naked Dogs \nMay 14th to June 25th\, 2011 \nOpening Reception: Saturday\, May 14th from 6:30 – 8:30 p.m. \n  \nDeborah Colton are pleased to announce an exhibition of recent works by Sharon Kopriva at Deborah Colton Gallery\, Houston. \nIn “Cathedrals Phantoms and Naked Dogs\,” Kopriva’s past religious imagery becomes a backdrop to address social issues and political events. The underlying foundations of the larger two dimensional works are from found\, altered and enlarged images of cathedrals which become backgrounds for imaginary\, mystical and sometimes whimsical works on canvas. The few remnants of past Kopriva popes and ghosts have been all but replaced by phantom dogs running amuck amid “hallowed halls” and serene woodland scenes where the forest itself becomes a palace. Rich and gestured lines are fused with relief elements and build outs. \nIn some of the paintings\, hairless hounds become metaphors for basic human social qualities. These canines mirror our inner\, secret feelings as they irreverently traipse\, dance and fly across columns and arches of spacious\, once holy cathedrals. The dogs symbolize both the anxiety and curiosity of life in these chaotic times. Three-dimensional hounds\, both plaster and bronze\, accompany the wall works\, exhibiting human expressions of pride\, avarice\, gluttony\, envy and lust\, basic human frailties that continue to feed war\, political turmoil\, hunger and religious unrest. \nSharon Ortman Kopriva is a Houston native. Her career was kicked off in 1985 in the “Fresh Paint” exhibition at the Museum of Fine Arts Houston. In the past twenty-five years she has shown her art in major cities of the United States\, Mexico\, Peru\, India\, Cuba\, China and parts of Europe. Her most noted exhibition was a solo curated by the legendary Walter Hopps at the Menil Collection in 2000. Her most remembered might be an accidental group exhibit at the Harris County Morgue. Her works are included in ten public collections. \n  \nDeborah Colton Gallery is founded on being an innovative showcase for ongoing presentation and promotion of strong historical and visionary contemporary artists world-wide\, whose diverse practices include painting\, works on paper\, sculpture\, video\, photography\, performance\, conceptual future media and public space installations. The Gallery aspires to provide a forum through connecting Texas\, national and international artist s to make positive change. \n  Save  
URL:https://artinamericaguide.com/event/sharon-kopriva-cathedrals-phantoms-and-naked-dogs/
LOCATION:Deborah Colton Gallery\, 2445 North Boulevard\, Houston\, 77098\, United States
CATEGORIES:Exhibition
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BEGIN:VEVENT
DTSTART;TZID=America/Halifax:20101120T080000
DTEND;TZID=America/Halifax:20110129T170000
DTSTAMP:20260403T135227
CREATED:20190419T222414Z
LAST-MODIFIED:20190423T190438Z
UID:51854-1290240000-1296320400@artinamericaguide.com
SUMMARY:Christian Tomaszewski: Highlights of Two Projects
DESCRIPTION:Deborah Colton Gallery Exhibitions \nNovember 20th\, 2010 – January 29th\, 2011 \nPublic Opening Reception: Saturday\, November 20\, 2010\, 6:00 to 9:00 PM \n  \nTerence La Noue\, Tributaries \nTerence La Noue was a Fulbright Meister Student at Hochscule fur Bildenden Kunste and received his Master of Fine Arts degree from Cornell University. La Noue has received grants from the National Endowment for the Arts and the Guggenheim Foundation. He has had an extensive teaching experience at Trinity College\, City University of New York and New York University.  Terence La Noue’s unique approach to painting and printmaking has achieved worldwide recognition. Beginning in Berlin in 1965\, he has had over a hundred and thirty acclaimed solo exhibitions. His work is represented in the permanent collections of major museums including The Museum of Modern Art in New York\, The Metropolitan Museum of Art\, the Whitney Museum of Art\, the Guggenheim Museum\, the Tate Modern in London and others in Japan\, Singapore\, France and Australia. His work is also included in numerous university and city art museums throughout the U.S. as well as major corporate collections. Terence La Noue’s exhibitions have been reviewed by some of the most significant critics of our time. An extensive monograph entitled Terence La Noue by the renowned critic and art historian Dore Ashton relates his travels\, influences and life’s work. \n  \n  \nExcerpts from the MAC – Dallas:  Mary Beth Edelson and Molly Gochman \nExcerpts from the McKinney Avenue Contemporary’s more comphrensive exhibitions\, There is Never Only One Game in Town\, work by Mary Beth Edelson and Other Stories\, work by Molly Gochman\, on view at the MAC through December 11th.  Mary Beth Edelson\, emerged in the 1960s on New York’s SoHO scene as a groundbreaking feminist artist. Noted is most art history books\, her conceptually-based work activates a variety of women’s and human rights issues. She has worked in collaborative and/or political environments\, participating in the early exhibitions at A.I.R. Gallery (founded in 1972)\, taking part in the Heresies Collective\, and helping to lead the Women’s Action Coalition\,1992–1994. Her work has been exhibited around the world and she is represented in major collections such as MoMA and the Guggenheim Museum of Art in New York\, the Museum of Contemporary Art in Chicago\, the Corcoran Gallery of Art in Washington DC and the Walker Art Center in Minneapolis. Molly Gochman\, a Houston- and New York-based younger artist\, formulates ideas of community and subjective interconnectedness in her growing oeuvre\, characterized by fluid visuality and the use of multiple media. From her dual bases in Houston and New York\, Molly Gochman has created a diverse portfolio of work that is both personal and philosophical – a contemplation on concepts of interest\, like time and change\, value\, love relationships\, and balance. Since 2002\, Gochman has exhibited widely in galleries and public spaces such as the Lincoln Center and the Emily Harvey Foundation in New York\, the Hobby Center for the Performing Arts\, Deborah Colton Gallery\, and DiverseWorks in Houston\, and the Sara Roney Gallery in Sydney\, Australia.  Molly Gochman was well received at the Colton & Farb Gallery Dallas Art Fair Exhibition and is in many important collections. \n  \n  \nChristian Tomaszewski\, Highlights of Two Projects \nChristian Tomaszewski was born in Gdansk\, Poland\, graduated from the Academy of Fine Arts in Poznan\, Poland and currently lives and teaches from his home base in New York City now. His multi-media installations explore various modes of narrative and critique\, often based on themes from cinema or architecture. He has exhibited widely in the US and Europe\, in venues such as the Sculpture Center and The Bronx Museum in New York\, Centre for Contemporary Art Ujazdowski Castle in Warsaw\, Fondazione Querini Stampalia in Venice\, the National Gallery in Prague\, Tufts University Art Gallery and the Bureau for Open Culture at Columbus College of Art & Design. His work was included in the First Biennale of Polish Art in Lodz and the Second Athens Biennial in Greece. Tomaszewski has participated in several prestigious residency programs\, including the American Academy in Rome\, the Irish Museum of Modern Art in Dublin\, the International Studio and Curatorial Program in New York City and recently Artpace in San Antonio\, Texas. He has received numerous grants and awards\, including support from the Pollock-Krasner Foundation\, a 2008 fellowship from the John Simon Guggenheim Memorial Foundation and a 2009 Travel Grant from the Jerome Foundation. \n  \n  \nJay Rusovich\, Beautiful  \nJay Rusovich was born in New Orleans. He received his degrees from Tulane University in English and Theater\, and also attended Oxford University in England\, The University of Arizona and Loyola University in New Orleans in various humanitarian disciplines. After graduating\, he moved to New York City where he studied Method Acting at The Lee Strasberg Institute. Rusovich also attended The Actor’s Institute for Shakespearean Studies and TVI Actors Studio in NYC. . For the next 20 years\, Rusovich traveled the world\, photographing people for institutions\, principally in New York and Los Angeles. He debuted his provocative fine arts photography\, titled “INSIDE OUT” at Deborah Colton Gallery the spring of 2005. An artist with great potential and one of the stars of the Colton & Farb Gallery 2010 Dallas Art Fair exhibition\, Jay is known for his controversial style\, which can be described as “intuitive\, engaging\, intense\, direct\, quick-witted…and sometimes tinged with irony.” \n  \n  \n  \nDeborah Colton Gallery is founded on being an innovative showcase for ongoing presentation and promotion of strong historical and visionary contemporary artists world-wide\, whose diverse practices include painting\, works on paper\, sculpture\, video\, photography\, performance\, conceptual future media and public space installations. The Gallery aspires to provide a forum through connecting Texas\, national and international artist s to make positive change. \n  Save  
URL:https://artinamericaguide.com/event/christian-tomaszewski-highlights-of-two-projects/
LOCATION:The MAC\, 1503 S Ervay Street\, Dallas\, TX\, 75215\, United States
CATEGORIES:Exhibition
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BEGIN:VEVENT
DTSTART;TZID=America/Halifax:20101120T080000
DTEND;TZID=America/Halifax:20110129T170000
DTSTAMP:20260403T135227
CREATED:20190419T221700Z
LAST-MODIFIED:20190423T185108Z
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SUMMARY:Mary beth Edelson: Excerpts from the MAC Dallas
DESCRIPTION:Deborah Colton Gallery Exhibitions \nNovember 20th\, 2010 – January 29th\, 2011 \nPublic Opening Reception: Saturday\, November 20\, 2010\, 6:00 to 9:00 PM \n  \nTerence La Noue\, Tributaries \nTerence La Noue was a Fulbright Meister Student at Hochscule fur Bildenden Kunste and received his Master of Fine Arts degree from Cornell University. La Noue has received grants from the National Endowment for the Arts and the Guggenheim Foundation. He has had an extensive teaching experience at Trinity College\, City University of New York and New York University.  Terence La Noue’s unique approach to painting and printmaking has achieved worldwide recognition. Beginning in Berlin in 1965\, he has had over a hundred and thirty acclaimed solo exhibitions. His work is represented in the permanent collections of major museums including The Museum of Modern Art in New York\, The Metropolitan Museum of Art\, the Whitney Museum of Art\, the Guggenheim Museum\, the Tate Modern in London and others in Japan\, Singapore\, France and Australia. His work is also included in numerous university and city art museums throughout the U.S. as well as major corporate collections. Terence La Noue’s exhibitions have been reviewed by some of the most significant critics of our time. An extensive monograph entitled Terence La Noue by the renowned critic and art historian Dore Ashton relates his travels\, influences and life’s work. \n  \n  \nExcerpts from the MAC – Dallas:  Mary Beth Edelson and Molly Gochman \nExcerpts from the McKinney Avenue Contemporary’s more comphrensive exhibitions\, There is Never Only One Game in Town\, work by Mary Beth Edelson and Other Stories\, work by Molly Gochman\, on view at the MAC through December 11th.  Mary Beth Edelson\, emerged in the 1960s on New York’s SoHO scene as a groundbreaking feminist artist. Noted is most art history books\, her conceptually-based work activates a variety of women’s and human rights issues. She has worked in collaborative and/or political environments\, participating in the early exhibitions at A.I.R. Gallery (founded in 1972)\, taking part in the Heresies Collective\, and helping to lead the Women’s Action Coalition\,1992–1994. Her work has been exhibited around the world and she is represented in major collections such as MoMA and the Guggenheim Museum of Art in New York\, the Museum of Contemporary Art in Chicago\, the Corcoran Gallery of Art in Washington DC and the Walker Art Center in Minneapolis. Molly Gochman\, a Houston- and New York-based younger artist\, formulates ideas of community and subjective interconnectedness in her growing oeuvre\, characterized by fluid visuality and the use of multiple media. From her dual bases in Houston and New York\, Molly Gochman has created a diverse portfolio of work that is both personal and philosophical – a contemplation on concepts of interest\, like time and change\, value\, love relationships\, and balance. Since 2002\, Gochman has exhibited widely in galleries and public spaces such as the Lincoln Center and the Emily Harvey Foundation in New York\, the Hobby Center for the Performing Arts\, Deborah Colton Gallery\, and DiverseWorks in Houston\, and the Sara Roney Gallery in Sydney\, Australia.  Molly Gochman was well received at the Colton & Farb Gallery Dallas Art Fair Exhibition and is in many important collections. \n  \n  \nChristian Tomaszewski\, Highlights of Two Projects \nChristian Tomaszewski was born in Gdansk\, Poland\, graduated from the Academy of Fine Arts in Poznan\, Poland and currently lives and teaches from his home base in New York City now. His multi-media installations explore various modes of narrative and critique\, often based on themes from cinema or architecture. He has exhibited widely in the US and Europe\, in venues such as the Sculpture Center and The Bronx Museum in New York\, Centre for Contemporary Art Ujazdowski Castle in Warsaw\, Fondazione Querini Stampalia in Venice\, the National Gallery in Prague\, Tufts University Art Gallery and the Bureau for Open Culture at Columbus College of Art & Design. His work was included in the First Biennale of Polish Art in Lodz and the Second Athens Biennial in Greece. Tomaszewski has participated in several prestigious residency programs\, including the American Academy in Rome\, the Irish Museum of Modern Art in Dublin\, the International Studio and Curatorial Program in New York City and recently Artpace in San Antonio\, Texas. He has received numerous grants and awards\, including support from the Pollock-Krasner Foundation\, a 2008 fellowship from the John Simon Guggenheim Memorial Foundation and a 2009 Travel Grant from the Jerome Foundation. \n  \n  \nJay Rusovich\, Beautiful  \nJay Rusovich was born in New Orleans. He received his degrees from Tulane University in English and Theater\, and also attended Oxford University in England\, The University of Arizona and Loyola University in New Orleans in various humanitarian disciplines. After graduating\, he moved to New York City where he studied Method Acting at The Lee Strasberg Institute. Rusovich also attended The Actor’s Institute for Shakespearean Studies and TVI Actors Studio in NYC. . For the next 20 years\, Rusovich traveled the world\, photographing people for institutions\, principally in New York and Los Angeles. He debuted his provocative fine arts photography\, titled “INSIDE OUT” at Deborah Colton Gallery the spring of 2005. An artist with great potential and one of the stars of the Colton & Farb Gallery 2010 Dallas Art Fair exhibition\, Jay is known for his controversial style\, which can be described as “intuitive\, engaging\, intense\, direct\, quick-witted…and sometimes tinged with irony.” \n  \nDeborah Colton Gallery is founded on being an innovative showcase for ongoing presentation and promotion of strong historical and visionary contemporary artists world-wide\, whose diverse practices include painting\, works on paper\, sculpture\, video\, photography\, performance\, conceptual future media and public space installations. The Gallery aspires to provide a forum through connecting Texas\, national and international artist s to make positive change. \n  Save  
URL:https://artinamericaguide.com/event/mary-beth-edelson-excerpts-from-the-mac-dallas/
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BEGIN:VEVENT
DTSTART;TZID=America/Halifax:20101109T080000
DTEND;TZID=America/Halifax:20101211T170000
DTSTAMP:20260403T135227
CREATED:20190419T220858Z
LAST-MODIFIED:20190423T184544Z
UID:51852-1289289600-1292086800@artinamericaguide.com
SUMMARY:Molly Gochman: Lullabies
DESCRIPTION:McKinney Avenue Contemporary\, Dallas\, Texas\n\n\nNovember 9\, 2010 to December 11\, 2010\n\n  Save  
URL:https://artinamericaguide.com/event/molly-gochman-lullabies/
LOCATION:The MAC\, 1503 S Ervay Street\, Dallas\, TX\, 75215\, United States
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END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/Halifax:20101109T080000
DTEND;TZID=America/Halifax:20101211T170000
DTSTAMP:20260403T135227
CREATED:20190419T220810Z
LAST-MODIFIED:20190423T184337Z
UID:51850-1289289600-1292086800@artinamericaguide.com
SUMMARY:Mary Beth Edelson: Humor is the Best Game in Town
DESCRIPTION:Mary Beth Edelson: Humor is the Best Game in Town \n-Kathleen Wentrack\, Ph.D. \n  \nNew York-based artist\, Mary Beth Edelson\, is recognized internationally for her break-through artworks in far ranging mediums and her contributions to the feminist revolution. Since the 1960s Edelsonhas been impacting art making and activism while challenging the entrenched cultural dogmas of the day. \n  \nOn view at the MAC in Dallas from November 6th until December 11this a select group of 42painted drawings from 1981–97. Curated by Liutauras Psibilskis\, Deborah Colton\, and Liliana Bloch\, this series is titled There is Never Only One Game in Town. Equally strong\, the historically significant large-scale wall collages will be on view as well as the premiere of the video “ Making Eye Contact” conceptualized by Edelson with video production by Gregory Wendt. \nThematically\, the exhibited body of work celebrates a variety of characters such as the femme fatale\, the trickster\, movie stars\, and the mythological folk figures of Baubo and Sheela-na-gig. Diverse as these female types appear\, they are connected through the trope of humor as Edelson states: \nHumor is a mode of speech that is indirect and ambiguous and\, therefore\, can have multiple interpretations. It can potentially disrupt dominant meanings and the social order while protecting the joker from consequences that might occur if the same message were delivered in a serious mode. Humor sabotages critics\, for unlike spoken language\, laughter does not belong to a linguistic code and\, therefore\, has the possibility of creatively breaking that mold while taking advantage of humor’s natural attraction. \n  \nHumor is a political devise in the series There is Never Only One Game in Town. Many of the drawings use a variety of materials including silkscreen\, ink\, acrylic\, and fabric on jute tag to form pictures based on Edelson’s desire to “re-script Hollywood” as it relates to the construction of women in their films. Edelson’s research of movies from the 1920s until the present day inspired her to be especially curious about films that place a gun in a woman’s hand—the ultimate symbol of male power—and how that representation changed over time according to women’s status and the circumstances of that time span. \nShe appropriated images of women played by movie stars including Marilyn Monroe\, Gena Rowlands\, Marlene Dietrich\, Lynda Carter\, Angelica Houston\, Judy Garland\, and Mae West whose sultry quote “there is never only one game in town” was borrowed for the title of this series. The artist then gave the characters a new identity as she describes: \nMy intention was to isolate these images from their original context in the film to project my own story on these subjects as self-defining agents that defy the production of Hollywood stereotyping. \n  \nBursting with irony and humor\, these drawings engage the viewer by way of the unexpected text and \ntitles that accompany their forthright images. Several works are based on a silk-screened photograph \nof a sassy\, young Judy Garland who asks questions that speak directly to the viewer. Other images \ndraw on cross-cultural traditions for alternative spiritual histories as in the multi-armed Marilyn Monroe as the Hindu Goddess Kali. \nAccompanying the painted drawing series are a selection of Edelson’s wall collages installed on a large scale for the first time in the United States. The wall collages developed concurrent with the artist’s well-known collage posters of the 1970s in which reproductions of historical paintings by male artists are parodied by pasting photographs of female artists’ faces over the male actors’ images. For example\, Some Living American Women Artists/Last Supper (1971-72) is the first of the five collage posters in which the artist insisted on an alternative vision of society that included women in positions of power. For this first poster Edelson collected photographs of women artists and collaged their faces over those of Jesus and his disciples on a reproduction of Leonardo da Vinci’s Last Supper (1498). All five posters in the series—recently acquired by the Museum of Modern Art in New York for their permanent collection —make use of appropriation in an effort to critique existing institutional structures and the history of western art. While these posters continue the social commentary of collage initiated by Dada artists almost a century ago\, it is Edelson’s wall collages that make her contribution unique to the history of collage art and feminist art history. \nThe genesis of the wall collages\, unlike the posters\, was one of happenstance and playfulness\, evolving from scraps leftover from the laborious pre-computer process of making the posters. These works celebrate women’s art collectives such as A.I.R. and Heresies\, while others are cameos devoted to a specific artist and the women in her milieu. Each of the wall collages presents different subjects\, stories\, and themes while they all share a rambling unique vine or web-like structure. For example\, Web Works/Heresies (1976) is built through a repetition of individual faces that creates the appearance of animation as in Good Meeting\, (1976) sourced from the Death of the Patriarchy/A.I.R. Anatomy Lessons poster. At first glance Good Meeting appears to be a dragonfly but on closer inspection it is composed of a set of wings and the faces of several women. The dragonfly’s head begins with the image of Rachel bas-Cohain\, then Ana Mendieta and Edelson\, and concludes with ten prints of Nancy Spero’s face\, diminishing in scale to form the tail. This collage provides an excellent example of how her repetitious progression creates a sense of movement influenced by the structural duplication of \, in this case\, Spero’s face. \nAlongside\, and often in conjunction with\, the portrait-based wall collages\, several themes reoccur in Edelson’s wall collages including Medusa\, the Bird and the Snake Goddess of Egypt\, Venus\, Sheela-na-Gig\, and Baubo. Laughing Medusa (1976) was made in a similar manner from remnants of poster pictures and other photographs of fellow A.I.R. members that the artist often took. The central face in this work is of Anne Healy with her head tilted back slightly holding a wide-mouthed laugh and framed by the smaller heads of A.I.R. members. Eight strands of wildly protruding hair—each strand repeating a separate individual’s head—moves with twists and turns like a snake\, as if it were Medusa’s own hair. \nThe artist has frequently employed the figures of the Sheela-na-gig and Baubo in diverse mediums since the early 1970s\, a moment when feminists sought out sources of power and spirituality that reflected not only an alternative to western religious structures but also spiritual histories in which women held significant positions and power. Found on the British Isles\, especially in Ireland\, the Sheela-na-gig is a female figure\, crouching with legs splayed open exposing her genitalia. Dating back at least to the Middles Ages\, these crudely shaped Sheela’s have been found near churches\, bridges\, and castles\, and are generally regarded as folk deities imbued with powers of renewal\, birth\, and death according to the scholar Barbara Freitag in Sheela-Na-Gigs: Unraveling an Enigma (2004). Edelson combines the Sheela imagery with faces of women she wishes to acknowledge ultimately imbuing the figures with life-giving power as in Buffy Sheela (1976) thatis composed of the heads of fellow artists Buffy Johnson\, Michele Stewart\, Betye Saer and Yoko Ono. \n  \nThe web-like structure was expanded for the cameo series that focuses on and celebrates individual women. The format for each cameo is to collage the artists image on a reproduction of a bold self-assured nude\, and it is from this central bod that the web expands and unfolds to include the images of artists who may have mutually influenced each other\, engaged in dialogue and thus created a circuit of people and ideas all active and supportive within this web. In the center of Cameo: Nancy (1979)\, a web presents the many faces of women associated with Nancy Spero with a special emphasis on her long alliance with the women of A.I.R. Gallery. \nMany of the wall collages record women active in feminist art groups\, but they also function as historical documents that describe the organizational and the working processes of a community in the process of implementing a revolution. The web-like shapes in the wall collages break from the confines of framing to visualize the collective and collaborative structures of these groups who are not represented in rows but are connected to each woman through the next. In Edelson’s hands\, the portrait then becomes a living document in stark contrast to the western tradition of portraiture or historical painting. \nMAC’s exhibition of Mary Beth Edelson’s art\, presents a rich selection rarely seen together in the U.S. that delves into the artist’s deep oeuvre. Edelson remains one of the key feminist artists active and influential today\, and the work in this exhibition gives testimony to its expansive relevancy. \n  Save  
URL:https://artinamericaguide.com/event/mary-beth-edelson-humor-is-the-best-game-in-town/
LOCATION:The MAC\, 1503 S Ervay Street\, Dallas\, TX\, 75215\, United States
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BEGIN:VEVENT
DTSTART;TZID=America/Halifax:20100510T103000
DTEND;TZID=America/Halifax:20100626T173000
DTSTAMP:20260403T135227
CREATED:20190419T213210Z
LAST-MODIFIED:20190420T210337Z
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SUMMARY:Marianne Vitale: Presser
DESCRIPTION:Marianne Vitale \nNew Work \nMay 8th\, 2010 to June 26th\, 2010 \nOpening Reception: Saturday\, May 8th\,  6:00 to 8:00 pm. \n  \nDeborah Colton is pleased to announce an exhibition of new work by the quixotic New York artist Marianne Vitale at Deborah Colton Gallery\, Houston. In a vibrant series of large paintings\, dense and thick with pigment\, Vitale hypertrophies the intricate intimacy of her pen and ink drawings into a churning no-fly zone over the contemporary. Accompanying these canvases\, Vitale has constructed one of her hybrid sculptures out of found material and debris reclaimed from the neighborhoods surrounding the gallery. \nAlso on view are two series of drawings: five colorful and riddling pen and ink compositions (2008)\, and nine fast and forcible sequential graphite drawings on copper-coated paper (2009). \nThis is Vitale’s third exhibition with Deborah Colton: Chemical City (2007)\, a group show in which Vitale presented Crude Oil on Silk and Flipper Baritone\, among other works\, and later that year a solo production entitled Tryst at Urn Stye. \nMarianne Vitale is a New York artist working in various mediums.  Her sculptural practice often evokes an idea of the natural world remade from what has been discarded and abandoned.  Recently brought together with metal and made permanent\, Vitale freezes these forms into make-shift structures\, fantastic creatures\, hybrid animals and contorted beasts that can appear both fragile and menacing.   Sometimes sympathetic\, often uneasy\, Vitale’s sculptures pull the tension between figure and abstraction\, mid-process of either melting or forming\, with skin dripping from their frames. These extracts stretch\, move\, coil\, hide\, and invite to mark an encounter of sinister illusoriness. When using performance and video\, Vitale draws on the instinctive yet carefully sculpted absurdity apparent in her drawings and sculptures\, with an added personal physicality that creates a visceral\, even combative relationship between artist and audience. Vitale’s work has been exhibited internationally\, including the 2010 Whitney Biennial\, SculptureCenter\, White Columns\, Kunstverein NY\, all in New York; Kling & Bang\, Reykjavik\, Iceland; Deborah Colton Gallery\, Houston\, Texas; IBID Projects\, London\, UK; and the Cass Sculpture Foundation\, Sussex\, England. \n  \nDeborah Colton Gallery is founded on being an innovative showcase for ongoing presentation and promotion of strong historical and visionary contemporary artists world-wide\, whose diverse practices include painting\, works on paper\, sculpture\, video\, photography\, performance\, conceptual future media and public space installations. The Gallery aspires to provide a forum through connecting Texas\, national and international artist s to make positive change. \n  Save  
URL:https://artinamericaguide.com/event/marianne-vitale-presser/
LOCATION:Deborah Colton Gallery\, 2445 North Boulevard\, Houston\, 77098\, United States
CATEGORIES:Exhibition
ORGANIZER;CN="Deborah Colton Gallery":MAILTO:info@deborahcoltongallery.com
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BEGIN:VEVENT
DTSTART;TZID=America/Halifax:20100508T103000
DTEND;TZID=America/Halifax:20100626T173000
DTSTAMP:20260403T135227
CREATED:20190419T215112Z
LAST-MODIFIED:20190423T185354Z
UID:51849-1273314600-1277573400@artinamericaguide.com
SUMMARY:Nathaniel Donnett: Black Plastic and tha Paper Bag Kids in tha Soulecistic Playground
DESCRIPTION:Nathaniel Donnett \nBlack Plastic and tha Paper Bag Kids in tha Soulecistic Playground \nMay 8th\, 2010 to June 26th\, 2010 \nOpening Reception: Saturday\, May 8th 6 – 8p.m. \n  \nDeborah Colton is pleased to announce an exhibition of new mixed media drawings\, sculptures and installations by Nathaniel Donnett at Deborah Colton Gallery\, Houston. \nBlack Plastic and tha Paper Bag Kids in tha Soulecistic Playground by Nathaniel Donnett explores the psychology of social interaction and the development of social patterns from early life to the present. Donnett follows patterns in seemingly innocent places like childhood playgrounds\, depicting the influence on an individual\, specifically those in African American communities\, and how that influence impacts the evolution of society as a whole. \nInfluential to the pieces created for this exhibition is Fat Albert and the Cosby Kids show – a cartoon that aired in the seventies. In creating the series\, Bill Cosby sought the advice of several psychiatrists to assure that there were no negative stereotypes that could result from children watching the program. The children in the show came from a working class neighborhood where they faced everyday challenges and societal issues such as honesty\, identity\, education\, and being different. The children utilized their imagination creating functional objects from discarded materials or “junk”. They created their own world from the materials available to them. \nAs African Americans attempt to articulate their unique situation\, they developed a coded language for their survival – ebonics\, slang\, and signifyin’. Nathaniel incorporates this method of articulation in titling his pieces by combining words that reflect the spirit of the piece with a “shout out” to particular artists. \nTalking about his work Nathaniel Donnett says: “I use the playground\, The Fat Albert show\, along with music\, memories\, reclaimed materials and objects\, traditional art materials\, and traditions both African and African American. Language also helps me investigate the definitions and psychology of blackness and color-ism.” Nathaniel queries\, “As adults\, are the roles we play a memory that was formulated from our playground experience? How can being dark or light\, being called black or Black\, nappy headed or good haired affect a child who becomes an adult? How does one define blackness? How do these things play in other cultures\, races\, and ethnic groups if at all?”  Black Plastic and tha Paper Bag Kids in tha Soulecistic Playground by Nathaniel Donnett is a “collage” of all those questions and ideas. \nNathaniel Donnett is a 2010 Artadia Award recipient and was nominated for the Louis Comfort Tiffany Grant in 2009. His works have been shown at the 2010 Armory\, Deborah Colton Gallery\, Texas Southern University Museum and Lawndale Art Center. He was invited to participate in Project Row Houses. \n  \nDeborah Colton Gallery is founded on being an innovative showcase for ongoing presentation and promotion of strong historical and visionary contemporary artists world-wide\, whose diverse practices include painting\, works on paper\, sculpture\, video\, photography\, performance\, conceptual future media and public space installations. The Gallery aspires to provide a forum through connecting Texas\, national and international artist s to make positive change. \n  Save  
URL:https://artinamericaguide.com/event/nathaniel-donnett-black-plastic-and-tha-paper-bag-kids-in-tha-soulecistic-playground/
LOCATION:Deborah Colton Gallery\, 2445 North Boulevard\, Houston\, 77098\, United States
CATEGORIES:Exhibition
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BEGIN:VEVENT
DTSTART;TZID=America/Halifax:20100313T080000
DTEND;TZID=America/Halifax:20100424T170000
DTSTAMP:20260403T135227
CREATED:20190419T211642Z
LAST-MODIFIED:20190423T184228Z
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SUMMARY:FotoFest 2010 Biennial Exhibition: Labyrinth of Desire
DESCRIPTION:Frank Rodick \nLabyrinth of Desire:  Work by Frank Rodick \nMarch 13th\, 2010 to April 24th\, 2010 \nArtist and Curator in Conversation: Sunday\, March 14th at 1 pm \n  \nDeborah Colton Gallery is pleased to announce a mid-career exhibition and book surveying the photo-based work of Canadian artist Frank Rodick at Colton & Farb Gallery\, Houston. Labyrinth of Desire:  Work by Frank Rodick\, offers an extraordinary look into the creative process of one of the field’s most interesting artists and will feature selections from his several bodies of work\, from the early black-and-white images in Liquid City and sub rosa to the multiple\, toned images of Arena and Faithless Grottoes. The artist’s most recent multi-media work will be shown here for the first time in a special installation within the exhibition. The exhibition is timed to coincide with the Houston-based FotoFest\, founded in 1983 as the first international biennial of photography and photo-based art in the United States. \nRodick\, an internationally recognized artist whose work was last seen in the United States at the Deborah Colton Gallery – in the 2008 group show Reflections and the 2007 solo show The Longest Night — creates powerful\, evocative\, and sometimes controversial pictures that integrate elements of traditional photography\, alternative darkroom techniques\, video\, and digital imaging. \nIn his more recent work\, Rodick alters and combines images into sequenced compositions that explore the complex realm of the human psyche\, probing the ambiguity of our inner lives. His juxtaposition of images mimics the imprecise and non-linear workings of our private thoughts\, memories\, and desires. “Hallucinatory as they might sometimes seem\,” Rodick says of his work\, “what I’m looking for are images that feel more intimately real than our cursory experience of everyday life\, images that give a voice to the worlds that live inside us and which somehow demand witness.” \nRodick’s work has been exhibited widely throughout North America\, Latin America\, and Europe. His work is in the collections of numerous institutions in the United States\, including the Museum of Fine Arts\, Houston; the Philadelphia Museum of Art; the Brooklyn Museum\, and the Kinsey Institute. Internationally\, his work is in the collections of the Canadian Museum of Contemporary Photography in Ottawa; the Musée de la Photographie à Charleroi in Belgium; the Museet for Fotokunst in Denmark; and the Museo Nacional de Bella Artes de Buenos Aires in Argentina. \nThe curator for the exhibition is Katherine Ware\, formerly a curator at the Philadelphia Museum of Art and the J. Paul Getty Museum in Los Angeles\, who is now Curator of Photography at the New Mexico Museum of Art in Santa Fe\, New Mexico. She has organized exhibitions of work by contemporary photographers as well as by masters such as Harry Callahan\, Man Ray\, and László Moholy-Nagy. Ware’s publications include Dreaming in Black and White: Photography at the Julien Levy Gallery\, Elemental Landscapes: The Photographs of Harry Callahan; In Focus: Man Ray; In Focus: László Moholy-Nagy; and essays on Man Ray\, Bauhaus photography\, and contemporary photography. She first encountered Rodick’s work at FotoFest in Houston and subsequently chose his work for the 2006 exhibition Discoveries of the Meeting Place. “Rodick’s relentless examination of the inner workings of the human animal never ceases to intrigue me\,” Ware said. “Despite the valiant work of Dr. Freud and some of his successors\, our emotional landscapes remain relatively mysterious and uncharted.” \nA publication surveying Rodick’s career\, with an essay by the curator\, will be published by the gallery in conjunction with the exhibition. \n  \nColton & Farb Gallery is part of Deborah Colton Gallery\, which is founded on being an innovative showcase for ongoing presentation and promotion of strong historical and visionary contemporary artists world-wide\, whose diverse practices include painting\, works on paper\, sculpture\, video\, photography\, performance and conceptual future media installations. \n  Save  
URL:https://artinamericaguide.com/event/fotofest-2010-biennial-exhibition-labyrinth-of-desire/
LOCATION:Deborah Colton Gallery\, 2445 North Boulevard\, Houston\, 77098\, United States
CATEGORIES:Exhibition
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BEGIN:VEVENT
DTSTART;TZID=America/Halifax:20100106T103000
DTEND;TZID=America/Halifax:20100116T173000
DTSTAMP:20260403T135227
CREATED:20190419T211748Z
LAST-MODIFIED:20190423T215313Z
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SUMMARY:Exit Art Benefit Print Portfolios Retrospective 1998 – 2009
DESCRIPTION:Exit Art Benefit Print Portfolios Retrospective 1998 – 2009 \nOpening and Reception \nDeborah Colton Gallery had a rare opportunity to host Exit Art\, a critically acclaimed New York non-profit art institution\, for an exhibition and benefit on January 6th\, from 6-8pm.  The exhibit will be up through January 16\, and is a collection of amazing portfolios mixing today’s preeminent artists with emerging artists.  The portfolios are collected by major institutions including The Museum of Modern Art\, Whitney Museum of American Art\, and the Metropolitan Museum of Art.  Over the past 30 years Exit Art has become known for cutting edge programs and discovering the next generation of major artists. Some of the artists who generously donate works to the portfolios are Marina Abramovic\, Donald Baechler\, Louise Bourgeois\, Sol LeWitt\, Julie Mehretu\, Yigal Ozeri\, Kiki Smith\, Nancy Spero\, and Carrie Mae Weems to mention a few. The portfolio covers are designed by Co-founder and Artistic Director of Exit Art\, Papo Colo. \n  \nPortfolios are available for sale to benefit Exit Art\, please contact Ms. Christensen audrey@exitart.org or call the gallery 713-869-5151 for more information. \n  \nA post Gallery celebration was held in the home of Carolyn Farb honoring board members and out of town guests: Board Chair Charles and Naomie Kremer\, Co-Founder and Director Jeanette Ingberman\, Fairfax Dorn\, and Mark Epstein.  Those in attendance at the Gallery were CAM Director Bill Arning\, Galveston Arts Center’s Clint Willour\, Andrew Abendshein and Eloise Frischkkorn\, Gallery artists and photographers Jay Rusovich\, Nathaniel Donnet\, and Michael Meazell. Others in attendance were Reggie and Leigh Smith\, Angelica Chapman\, Kristy Phillips and Rob Taylor\, Chris Kelly\, Don Hooper and Rachel Ann Palmer\, Jim and Jo Furr\, Marthann Masterson and Mike Weaber\, Kent Shaffer and Leanna Tran and Terrence Hodby.  An evening of art\, philanthropy\, and meaningful collaborations was enjoyed by all.  Guests enjoyed the music of Rom Ryan and a menu of Mexican Fare created by Kitty Bailey of Abuso Catering.  The out of towners enjoyed spicy shrimp nachos\, Sunshine Margaritas\, jack cheese enchiladas\, topped off with scrumptious pineapple coconut cake. \n  Save  
URL:https://artinamericaguide.com/event/exit-art-benefit-print-portfolios-retrospective-1998-2009/
LOCATION:Deborah Colton Gallery\, 2445 North Boulevard\, Houston\, 77098\, United States
CATEGORIES:Exhibition
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BEGIN:VEVENT
DTSTART;TZID=America/Halifax:20090919T080000
DTEND;TZID=America/Halifax:20091107T170000
DTSTAMP:20260403T135227
CREATED:20190424T130431Z
LAST-MODIFIED:20190424T130431Z
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SUMMARY:Michael Rees: Model Behavior
DESCRIPTION:Michael Rees  \nModel Behavior \nSeptember 19th\, 2009 to November 7th\, 2009 \nOpening Reception: Saturday\, September 19th\, 6:00 to 9:00 PM \nArtist’s Talk: Saturday\, September 19th\, 2:00 PM \n  \nDeborah Colton Gallery is pleased to announce the opening of Model Behavior. Model Behavior is an exhibition of Michael’s new work and includes sculpture\, drawings\, animation\, photographs\, and interactive media. The ideas hinge on the word model. The first sense of this word is an ideal\, an aspiration or an inspiration. At the same time to model something is to map it\, make a simulation of it or to emulate it. To model something is to give it form\, to reify it. Models are the first steps in the evolution of a product; they carry the original intent of a thing and lay out the constituent parts. \nAdding the word behavior emphasizes the ideal quality of the endeavor and creates an equivalency that is reiterated in the sculptures. The equivalency refers to the distance between a model (a concept) and a behavior (an action). For Rees this distance is a generative space where works begin to bifurcate formally and semantically. Through iteration and reiteration\, these experiences take form upon the crystalline structure of the sculptures’ material. These options are contained within that material. The options speak to different impulses and layers of a piece\, creating a valence of meanings. There is humor and conflict in this show: some of the works would never be considered an ideal of anything. They are play oriented puzzles\, riddles of stability and instability. Through the process of combining and recombining themes and objects there is at once stasis and fluidity. The act of making these works is like breathing or walking. They are basic\, held close to automatic processes and to liminal space. \nTo mine this mental to physical space and to extract from it potential and even ethical implications of action is to participate in mimetic culture. Making is a process that can be transferred through objects to others though communication. It can open up possibilities\, potentials\, and meanings. It can play in the unwinding of human experience. For Rees\, this takes place through the consonance and dissonance of the works in Model Behavior. \nRees investigates aspects of a language\, body\, and humor dynamic in works that are physical\, virtual\, figurative and abstract. He has exhibited his work throughout Europe and the United States\, both in private and public venues. The institutions Michael Rees is collected by include the Whitney Museum of American Art and the Edelman Foundation in Luzern\, Switzerland. He has won a Creative Capital Grant\, a National Endowment for the Arts Grant\, and a New Jersey Council on the Arts Grant. He is a Media Arts Fellow of the Tribeca Film Institute funded by the Rockefeller Foundation and the Ford Foundation. In June 2009\, He will open large scale work at the Zentrum fur Medien Kunst in Karlsruhe curated by Peter Weibel and will do a project space at the Chelsea Art Museum called Social Object: sculpture and Software. \nDeborah Colton Gallery is founded on being an innovative showcase for ongoing presentation and promotion of strong historical and visionary contemporary artists world-wide\, whose diverse practices include painting\, works on paper\, sculpture\, video\, photography\, performance and conceptual future media installations. The gallery aspires to provide a forum through connecting Texas\, national and international artists to make positive change. \n  Save  
URL:https://artinamericaguide.com/event/michael-rees-model-behavior/
LOCATION:Deborah Colton Gallery\, 2445 North Boulevard\, Houston\, 77098\, United States
CATEGORIES:Exhibition
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END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/Halifax:20090822T080000
DTEND;TZID=America/Halifax:20090912T170000
DTSTAMP:20260403T135227
CREATED:20190424T130408Z
LAST-MODIFIED:20190424T130408Z
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SUMMARY:Maripol: Little Red Riding Hood
DESCRIPTION:Maripol \nLittle Red Riding Hood \n  \nAugust 19\, 2009 through September 12\, 2009 \nPublic Opening Reception: Saturday\, August 22\, from 6:00 to 9:00 pm \n  \nDeborah Colton Gallery is pleased to announce debut of Little Red Riding Hood an exhibition of works by Maripol. The public opening reception will be Saturday\, August 22\, 2009 from 6:00 to 9:00 pm. \nFor the first time\, Maripol will be using diverse media such as canvas\, clothing\, photography\, and paint. This most recent body of work draws influence from her past and her varied career as both an artist and as a fashionista\, a role she developed ever since her childhood. After rummaging through her family albums\, Maripol discovered hidden photographs of her grandmother\, whose own style introduced her to the world of fashion and continues to influence her today. Maripol even shares her middle name with her grandmother’s name\, Mathilde. Maripol has always felt her grandmother’s presence since she passed away and is proud of the similarities found between them. Maripol’s attraction to fashion and jewelry\, which began when stealing her mother’s dresses and high heels\, made her a natural model. Yet\, the myths and legends that she treasured during her childhood in combination with her love of fashion culminated in her success as the winner of a costume contest when she modeled an outfit inspired by Little Red Riding Hood\, the protagonist of the famous children’s folktale. \nWhen she landed in New York\, she was fresh out of art school and unsure of being just an artist. Serendipitously\, she was discovered by a talent scout from the famous Fiorucci house for her skill at transforming industrial objects into wearable sculpture and jewelry. Textures\, fabrics\, and scents were not unfamiliar to the little girl who grew up in Africa\, eager to go to the market and admire the craftsmanship of the locals’ beading\, tapestry\, or goldsmithing. Once in New York\, the city became her new playground and the blueprint of her unconscious exploded. Her designs have permeated the art\, music and fashion of these past three decades. The art pieces presented here represent the tenacity of the innocent little red riding hood thrown into the fast world of the big bad wolves…. \n  \nMaripol’s work as an art director\, designer\, and film producer has influenced popular movements in music\, fashion and art since the early 1980s. She was the founder of Maripolitan Popular Objects Ltd.\, a fashion accessories company which also designed merchandising for Madonna’s “Like a Virgin” tour. She directed the documentary “Crack is Wack” on Keith Haring for French television\, as well as other shorts\, and has directed films by Marcus Nispel\, and Abel Ferrara\, and music videos for Cher\, D’Angelo\, Elton John\, Luther Vandross\, and others. She has produced films including “Downtown 81”\, directed by Edo Bertoglio and written by Glenn O’Brien. Maripol has been exhibited at P.S.1 Contemporary Art Center\, Deitch Projects\, Musee Maillol\, and the Museum of Fine Arts\, Houston. She has been published in The New York Times Magazine\, WWD\, Time Out New York\, ELLE\, i-D\, Numero Japan\, and Rolling Stone Italy. Maripol’s books include Maripolarama (powerHouse Books\, 2005)\, New York Beat: The Making of Downtown 81 (Petit Grand\, 2001) and Mes Polas: 1977-90s (Art Random\, 1990). Maripol’s work is currently in traveling exhibitions around the world in Tokyo\, Hong Kong\, Milan\, Berlin\, Paris\, and London. \n  \nDeborah Colton Gallery is founded on being an innovative showcase for ongoing presentation and promotion of strong historical and visionary contemporary artists world-wide\, whose diverse practices include painting\, works on paper\, sculpture\, video\, photography\, performance and conceptual\, future media installations. The gallery aspires to provide a forum through connecting Texas\, national and international artists to make positive change. \n  Save  
URL:https://artinamericaguide.com/event/maripol-little-red-riding-hood/
LOCATION:Deborah Colton Gallery\, 2445 North Boulevard\, Houston\, 77098\, United States
CATEGORIES:Exhibition
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END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/Halifax:20090509T080000
DTEND;TZID=America/Halifax:20090727T170000
DTSTAMP:20260403T135227
CREATED:20190419T223024Z
LAST-MODIFIED:20190423T180149Z
UID:51857-1241856000-1248714000@artinamericaguide.com
SUMMARY:Lowell Boyers: Emerge
DESCRIPTION:Lowell Boyers \nEmerge \nMay 9\, 2009 through June 27\, 2009 \nOpening Reception: Saturday\, May 9\, from 6:00 to 9:00 pm \n  \nDeborah Colton Gallery is pleased to announce Emerge\, its second solo exhibition of paintings by Lowell Boyers. The artist’s work was first seen at the Deborah Colton Gallery in the 2004 group exhibition Touch and Temperature: Art in the Age of Cybernetic Totalism\, curated by Michael Rees and last seen in his 2006 solo exhibition Awakening.  \n Emerge opens Saturday\, May 9\, 2009 with a reception for the artist from 6:00 to 9:00 pm. \nIn Emerge\, Lowell’s paintings explore the phenomena of the creative imagination\, a field where the spark of the artist’s impulse stems from. His paintings have an energetic nature that pours and seeps into the world we adhere ourselves to in our everyday lives\, portraying the true nature of self as uncontained by the shell of flesh and bone. They offer a passageway that pulls us inward and alters the fabric of everyday reality. Through the sweeping pours of acrylic resins and the dilations of spectral colored inks\, Lowell’s paintings shift how we see the narrative activity and dimensions possible in figure painting. In this series of works\, the secret world of the figures merge with the relative physical world to create an experience of simultaneity. This modern conflation of time and space and perception is rarely\, if ever\, so beautifully realized in contemporary painting. \n  \nLowell says that “The creative impulse can cut through habitual phenomena\, how we see things\, feel things\, our perception of self\, our notion of body\, birth and death\, of appearance”. His creativity has successfully cut through that mundaneness and turned what seems like boundaries into springboards to liberty. Lowell states\, “I see the creative imagination as a birthright belonging to every being\, and my work is fundamentally a textural portrayal of the unfolding blossoming of various stages of awakening to that active nature.” \n  \nDeborah Colton Gallery is founded on being an innovative showcase for ongoing presentation and promotion of strong historical and visionary contemporary artists world-wide\, whose diverse practices include painting\, works on paper\, sculpture\, video\, photography\, performance\, conceptual future media and public space installations. The Gallery aspires to provide a forum through connecting Texas\, national and international artist s to make positive change. \n  Save  
URL:https://artinamericaguide.com/event/lowell-boyers-emerge/
LOCATION:Deborah Colton Gallery\, 2445 North Boulevard\, Houston\, 77098\, United States
CATEGORIES:Exhibition
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BEGIN:VEVENT
DTSTART;TZID=America/Halifax:20090314T080000
DTEND;TZID=America/Halifax:20090507T170000
DTSTAMP:20260403T135227
CREATED:20190419T223047Z
LAST-MODIFIED:20190423T180006Z
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SUMMARY:Molly Gochman: Spring
DESCRIPTION:Molly Gochman \nSpring\nMarch 14 – May 7 2009\nOpening Reception: Saturday\, March 14\, from 6:00 to 9:00 pm\nPerformances: Amy Granat\, Jacob Kassay and Mai Ueda\, Saturday\, March 14\, 9:00pm \nDeborah Colton Gallery is pleased to premier Spring\, a conceptual project by Houston artist Molly Gochman. That same evening New York-based artists Amy Granat\, Jacob Kassay and Mai Ueda will also perform at the gallery. \nSpring focuses on a series of large-scale images derived from Kodachrome slides of Molly Gochman’s mother. Gochman revisits images and memories of her childhood\, exploring the difference between the surviving photographs and her own reminiscences. She looks at the past from today’s perspective and develops a project that is abstract and philosophical while at the same time profoundly personal.  Gochman is fascinated by the concepts of time and change: the stains or cleansing that time imposes on images\, on memory\, and on the human self. She turns her images into extraordinary artworks that also become metaphors of time’s impact on matter. They are monuments to loss\, but also to optimism. The title of the exhibition can be read as a reference to when the original images were taken and when the exhibition takes place. It speaks of the possibility for change and rebirth. \nDuring the opening\, a memory collage will be built with documents provided by those who attend. The collage will be built through the process of scanning and projecting documents kindly brought to the opening by visitors. To participate\, please bring any images or other documents relating to memories in your life that you would like to add to the collage. Photographic images\, texts\, drawings\, found pieces of paper or other very thin objects that measure less than 9″ x 9″ will be the easiest to incorporate. Your document will be returned to you after it has been scanned. \nIn the last five years\, Gochman’s work has been exhibited as far away as the Sara Roney Gallery in Sydney\, Australia\, and in various galleries throughout her home state of Texas\, including Barbara Davis Gallery\, DiverseWorks\, and her own space in Houston\, Commune. In August of 2008\, Gochman inaugurated Deborah Colton Gallery’s new location with the opening of Release: Give-Away III. Last year Gochman had an installation/performance at chashama and took part in the group exhibition ‘Engendered’ at Lincoln Center\, both in New York. \nPerformances by artists Amy Granat and Mai Ueda will pre-feature a group exhibition\, InCoherence\, curated by Liutauras Psibilskis\, that will take place at Deborah Colton Gallery in November – December 2009.  Amy Granat is a filmmaker and multimedia artist who exhibited at such venues as Swiss Institute\, White Columns and PS1; she took part in Whitney Biennale 2008\, Whitney Museum of American Art\, New York. She is a co-founder of Cinema Zero\, a collective that fosters collaborations between artists from different mediums. Mai Ueda is a performance and multimedia artist. She showed at Lyon Biennale 2001\, Lyon\, France\, Palais De Tokyo\, Paris\, PS1\, New York\, Fargfabriken\, Stockholm\, Sweden; she used to be part of Electronic Orphanage in Los Angeles. Molly Gochman will also be an artist featured in InCoherence \nDeborah Colton Gallery is founded on being an innovative showcase for ongoing presentation and promotion of strong historical and visionary contemporary artists world-wide\, whose diverse practices include painting\, works on paper\, sculpture\, video\, photography\, performance\, conceptual future media and public space installations. The Gallery aspires to provide a forum through connecting Texas\, national and international artist s to make positive change. \n  Save  
URL:https://artinamericaguide.com/event/molly-gochman-spring/
LOCATION:Deborah Colton Gallery\, 2445 North Boulevard\, Houston\, 77098\, United States
CATEGORIES:Exhibition
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DTSTART;TZID=America/Halifax:20090124T080000
DTEND;TZID=America/Halifax:20090228T170000
DTSTAMP:20260403T135227
CREATED:20190419T222641Z
LAST-MODIFIED:20190423T175731Z
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SUMMARY:Yang Jin Long: Seasons of Love
DESCRIPTION:Yang Jin Long \nSeasons of Love \n  \nJanuary 24\, 2009 through February 28\, 2009 \nOpening Reception: Saturday\, January 24\, from 6:00 to 9:00 pm \n  \nDeborah Colton Gallery is pleased to present\, Seasons of Love by artist Yang Jin Long. This is Yang’s second solo at the Deborah Colton Gallery\, his first being in 2007. Seasons of Love opens Saturday\, January 24\, 2009 with a reception for the artist 6:00 to 9:00 pm. \n  \nChina began to expand its economic boundaries when Hong Kong was returned from British sovereignty in 1997\, thus fostering widespread technological growth. In turn\, contemporary Chinese art has reflected not just industrial development but the permeation of Western ideology. Yang’s compositions reflect this change by their saturation of symbolic imagery. Influenced by the formal structure in Chinese watercolors and calligraphy early in his academic career\, Yang strived to develop a concept of working that would allow him to explore relationships between the living and the constructed. He laments the loss of traditional culture to the material existence of modern society\, but understands\, and proves in his paintings\, that each can feed the other as a rich source of inspiration. \n  \nYang Jin Long’s work evokes an Eastern spirit but calls upon Western forms wherein he often pairs hypermodern and fabled human figures with the detritus of pop culture iconography in surreal situations that defy immediate logic. One is as likely to find industrial debris of society as one is to observe exquisitely rendered figures in biomorphic\, fluid forms displays as a psychological distortion of environment. His paintings are\, in a sense\, mental tableaux\, documenting and expanding the notion of his experience. \n  \nWhile Yang hails from China\, his themes are undeniably universal. The imagery of the works in Seasons of Love transcends cultures\, breaking apart the mind’s eye into scattered fragments of representation that form a cohesive unit that is neither one civilization’s nor another’s. With a focus on color\, cultural influences eroticism\, and industry\, Yang constructs tangible dreamscapes that blur the lines between the illusory and the genuine that exist in both the human imagination and the human condition. It is Yang’s technical and imaginative skill that allows these pictorial unions to succeed and speak to a broad audience on a more universal and spiritual level. \n  \nSeasons of Love marks an important occasion for Yang as he recently immigrated to the United States and has now been a resident of Houston for two years. Born in Zhenjiang\, China\, in 1960\, Yang has been exhibiting internationally since 1998. After graduating from college in 1985\, Yang accepted the position of Director of the Art Department at Zhenjiang University in his hometown. Yang’s major international solo exhibitions include the prestigious Pacific Cultural Foundation Art Center in Taipei\, Taiwan. He has also received numerous awards in China and has works placed in many prominent collections. He is scheduled for a solo exhibition at The Crow Collection of Asian art in January – April of 2010. \nDeborah Colton Gallery is founded on being an innovative showcase for ongoing presentation and promotion of strong historical and visionary contemporary artists world-wide\, whose diverse practices include painting\, works on paper\, sculpture\, video\, photography\, performance\, conceptual future media and public space installations. The Gallery aspires to provide a forum through connecting Texas\, national and international artist s to make positive change. \n  Save  
URL:https://artinamericaguide.com/event/yang-jin-long-seasons-of-love/
LOCATION:Deborah Colton Gallery\, 2445 North Boulevard\, Houston\, 77098\, United States
CATEGORIES:Exhibition
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