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DTSTART;TZID=America/Halifax:20090124T080000
DTEND;TZID=America/Halifax:20090228T170000
DTSTAMP:20260403T140337
CREATED:20190419T222641Z
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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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DTSTART;TZID=America/Halifax:20090314T080000
DTEND;TZID=America/Halifax:20090507T170000
DTSTAMP:20260403T140337
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:20090509T080000
DTEND;TZID=America/Halifax:20090727T170000
DTSTAMP:20260403T140337
CREATED:20190419T223024Z
LAST-MODIFIED:20190423T180149Z
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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:20090822T080000
DTEND;TZID=America/Halifax:20090912T170000
DTSTAMP:20260403T140337
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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BEGIN:VEVENT
DTSTART;TZID=America/Halifax:20090919T080000
DTEND;TZID=America/Halifax:20091107T170000
DTSTAMP:20260403T140337
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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BEGIN:VEVENT
DTSTART;TZID=America/Halifax:20100106T103000
DTEND;TZID=America/Halifax:20100116T173000
DTSTAMP:20260403T140337
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:20100313T080000
DTEND;TZID=America/Halifax:20100424T170000
DTSTAMP:20260403T140337
CREATED:20190419T211642Z
LAST-MODIFIED:20190423T184228Z
UID:51843-1268467200-1272128400@artinamericaguide.com
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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DTSTART;TZID=America/Halifax:20100508T103000
DTEND;TZID=America/Halifax:20100626T173000
DTSTAMP:20260403T140337
CREATED:20190419T215112Z
LAST-MODIFIED:20190423T185354Z
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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:20100510T103000
DTEND;TZID=America/Halifax:20100626T173000
DTSTAMP:20260403T140337
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
GEO:29.7276234;-95.4166597
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BEGIN:VEVENT
DTSTART;TZID=America/Halifax:20101109T080000
DTEND;TZID=America/Halifax:20101211T170000
DTSTAMP:20260403T140337
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:20260403T140337
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:20101120T080000
DTEND;TZID=America/Halifax:20110129T170000
DTSTAMP:20260403T140337
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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END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/Halifax:20101120T080000
DTEND;TZID=America/Halifax:20110129T170000
DTSTAMP:20260403T140337
CREATED:20190419T221700Z
LAST-MODIFIED:20190423T185108Z
UID:51853-1290240000-1296320400@artinamericaguide.com
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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DTSTART;TZID=America/Halifax:20110514T103000
DTEND;TZID=America/Halifax:20110625T173000
DTSTAMP:20260403T140337
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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DTEND;TZID=America/Halifax:20120428T170000
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CREATED:20190423T153454Z
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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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CREATED:20190423T153431Z
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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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DTEND;TZID=America/Halifax:20120428T170000
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CREATED: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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DTSTART;TZID=America/Halifax:20120509T080000
DTEND;TZID=America/Halifax:20120509T170000
DTSTAMP:20260403T140337
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:20120519T080000
DTEND;TZID=America/Halifax:20120630T170000
DTSTAMP:20260403T140337
CREATED:20190424T132619Z
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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:20120908T080000
DTEND;TZID=America/Halifax:20121027T170000
DTSTAMP:20260403T140337
CREATED:20190424T132559Z
LAST-MODIFIED:20190424T132559Z
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SUMMARY:Plastic Fantastic with Paul Mart
DESCRIPTION:Deborah Colton Gallery \n Fall 2012 Season Opener  \nSeptember 8th\, 2012 through October 27th\, 2012 \nOpening Reception: Saturday\, September 8th\, from 6:00 to 9:00 pm \nArtist Talk: Sunday\, September 9th from 2:00 to 4:00 pm \nDeborah Colton Gallery is pleased to present Plastic Fantastic\, an exhibition inspired by plastic pioneer Dr. Harry D. Anspon. The exhibition is curated by Dr. Anspon’s daughter\, Catherine D. Anspon\, the visual arts editor for PaperCity magazine (Houston + Dallas) and is the second curatorial project that Anspon has conceived for Deborah Colton Gallery\, the last being A Time for Change\, which inaugurated the fall 2008 season. Plastic Fantastic opens Saturday\, September 8\, 2012\, with a reception for the artists and scientist from 6:00 to 9:00 pm. \n Plastic Fantastic headlines five principal artists\, alongside a performance by two puppeteers — who have been specially commissioned to devise puppet plays just for this show — as well as featuring a happening organized by one of Texas’ most provocative artists\, who for the seven-week run of the show will realize “a shopping experience” analogous to one of America’s retail giants\, in collaboration with nearly two dozen other Texas talents. These artists and their performing and visual arts elements all share one common thread — they are made from\, or staged from\, one form or another of plastic\, one of the defining materials of modern life. \nPlastic Fantastic is inspired by Dr. Anspon\, who is interviewed for this exhibition by his daughter; their conversation and his contributions to the field of post-war plastics research and development are presented in a 10-minute film segment edited and produced by Shau Lin Hon. As the short documentary reveals\, Dr. Anspon\, who graduated with his PhD in organic chemistry from the University of Maryland in 1942\, spent the remainder of the war years in post-doctoral research. He holds more than 70 U.S. patents in the plastics field\, where he produced breakthroughs and conducted research and development on polyethylene\, polystyrene\, polypropylene and polyurethane\, while employed during the booming years following World War II\, first at U.S. Rubber\, then General Aniline and Film (GAF)\, followed by Spencer Chemical\, Gulf Oil\, U. S. Steel (where Anspon headed the plastics division from 1968 into the early 1980s); later ensued a career\, still ongoing\, as a patent agent and independent consultant in the chemical field\, with a plastics specialty. \nAs Plastic Fantastic underscores\, all the “poly” components Anspon worked on are used by contemporary artists today towards a myriad of purposes and practices. These range from urethane resin in the case of Connecticut-based Andrea Morganstern —who makes her Texas debut here with resin-formed sculptures which in turn are then photographed in nature — to the well-stocked polystyrene consumer pleasures of Paul-Mart\, which proclaims “Stackin’ Em High\, Sellin’ ‘Em Cheap” about the wares curated by Paul Horn\, assisted in his commercial endeavor by Solomon Kane\, who collaborated with Horn on the packaging\, store displays and end-caps. (Note\, paralleling the Wal-Mart concept\, Paul-Mart is totally about democratic retailing and discount volumes; all art offerings are priced at $99.99 or less.) \nJoining the ode and exploration of plastic are Selven O’Keef Jarmon\, represented by his intensively laborious button text pieces formed from mass-produced plastic buttons\, which are then painstakingly hand sewn; and again Paul Horn this time working solo\, presenting his signature Cornell-ian pop-up boxes bearing plastic lenticular windows through which the viewer glimpses alternately disquieting or endearing\, but always prescient\, moments of American culture. \nDeborah Colton Gallery’s Plastic Fantastic also marks the Houston debut of two North Texas artists: Billy Zinser of Dallas\, and Karen Arzamendi of Denton. The former is known for his Macrodon series\, droll molded plastic toys that exist at the intersection of childhood and contemporary art\, critiquing current collecting practices; Zinser’s multiples will be stocked at Paul-Mart while his large-scale biomorphic sculptures\, and their accompanying paintings will also be highlighted in another gallery room. Additionally\, watch for Zinser’s gargantuan building-sized\, forced-air Macrodon inflatable to make an appearance. In contrast\, Arzamendi’s practice is not rooted in fantasy\, but in the concept of domesticity and the home. For this exhibit\, the artist\, whose background encompasses fiber arts and a fascination with quilt-making\, will reprise her University of North Texas thesis show with a translucent house formed from quilted plastic zipper bags containing discarded or salvaged moments from everyday life\, mostly featuring a plethora of plastic belongings. In dialogue with the cottage-sized house (with a door for the viewer to enter)\, this sculptor will create a site-specific timeline on the surrounding walls of the main gallery\, documenting via found and treasured plastic objects\, a modern book of hours referencing the moments of the day\, and the cycle of months and years. \nAdding a soupcon of performance energy\, Justin Dunford and Camella Clements — who have both performed with Bobbindoctrin Puppet Theatre — each debut a new piece for Plastic Fantastic\, employing out-sized plastic puppets concocted from neoprene. The opening night puppet performance is set for Saturday\, September 8\, 2012 at 8:00 pm. \nRounding out the exhibition\, former model and now proprietor of the just launched Laboratoria: The Chemistry of Style\, Tatiana Massey will collaborate with window designer Balushka on creating a Blossom Room busting with giant plastic flowers\, which sprout eyewear by New Zealand designer Karen Walker\, French master Thierry Lasry (whose shades are favored by Lady Gaga) and British talent Holly Fulton whose latest plastic-and-rhinestone necklaces dazzle with their nod to both the Deco period and the future. \nNOTE: A Complete Artist Roster for Plastic Fantastic and the Paul-Mart Store follows. \nFor additional details\, including artists’ bios and statements\, and high-resolution press images\, please contact Deborah Colton Gallery\, 713-869-5151; info@deborahcoltongallery.com. \n  \nPlastic Fantastic Artist Lineup \n  \n Headlining Artists: \nKaren Arzamendi \nPaul Horn \nSelven O’Keef Jarmon \nAndrea Morganstern \nBilly Zinser \nShau Lin Hon\, Filmmaker \nJustin Dunford and Philip Hays\, Puppeteers \nCamella Clements\, Puppeter \n  \nPaul-Mart Participants: \nAmerimou$ \nScott Burns \nAlejandro Castro \nBrent Bruni Comiskey \nBill Davenport \nKelley Devine \nG.P.S. \nNathan Green \nJohn Paul Hartman \nPaul Horn \nDaniel Johnston \nMarjorie Johnston \nSolomon Kane \nFelipe Lopez \nMichael Macedo Meazell \nJonathan Rosenstein \nAlfredo Scaroina \nGian Palacios-Swiatkowski \nDandee Warhol \nDavid Wilhelm \n  \nFashion Installation: \nProduced by Tatiana Massey‘s Laboratoria: The Chemistry of Style \nBlossom Room crafted by Balushka \nCollections highlighted by Karen Walker\, Thierry Lasry\, Holly Fulton and more! \n  \nOther Plastic Fantastic Happenings: \nShop Paul-Mart\, a retail extravaganza shopping party and performance by Paul Horn\, with puppet shows by Justin Dunford and Camella Clements on Thursday\, September 27th\, 6:30 to 8:30 pm Closing Blow Out and Artists Toast on Wednesday\, October 31st\, 6:00 to 9:00 pm \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/plastic-fantastic-with-paul-mart/
LOCATION:Deborah Colton Gallery\, 2445 North Boulevard\, Houston\, 77098\, United States
CATEGORIES:Exhibition
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BEGIN:VEVENT
DTSTART;TZID=America/Halifax:20121117T080000
DTEND;TZID=America/Halifax:20130119T170000
DTSTAMP:20260403T140337
CREATED:20190424T132438Z
LAST-MODIFIED:20190424T132438Z
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SUMMARY:Angelbert Metoyer: Babies: Walk on Water: Present\, Future and Time Travel
DESCRIPTION:Deborah Colton Gallery \nAngelbert Metoyer\, “Babies: Walk on Water\, Present\, Future and Time Travel” \nNovember 17\, 2012 – January 19\, 2013 \nPublic Opening Reception: Saturday\, November 17\, 2012\, 6:00 to 9:00 p.m. \n  \nDeborah Colton Gallery is pleased to present Babies: Walk on Water\, Present\, Future and Time Travel\, an exhibition by Angelbert Metoyer. \nAngelbert Metoyer is one of the most dynamic artistic creators of our time.  Launching his artistic career when he was still in high school in 1994\, Metoyer was given two rooms in the Project Row Houses: a community arts center based in Houston. In 1995\, he was included in exhibitions concurrently at Project Row Houses and Contemporary Arts Museum Houston and then moved to Atlanta to study at what is now the Savannah College of Art and Design. Through this time\, Metoyer began thinking about objects as the representation of moments and drawn images as the formalization of memories. This influenced Metoyer’s later artwork that explored his own family history within the context of the narrative of this country and considered the cultural complexity of America’s past. Metoyer’s more recent work investigates the physics and mathematics of the universe\, turning attention beyond ideas of self-identity and personal experience to notions of universal truths\, metaphysics and questions about the human soul. The scope of his wide-reaching exhibition history attests to the fact that his works expresses universal ideas and speaks across boundaries\, beyond words\, to compellingly address a diverse audience. \n  \nAngelbert Metoyer has acquired a devoted following of collectors in Texas\, nationally and abroad. His artwork is included in many museum collections including the African American Museum in Dallas\, the Museum of Fine Arts: Houston\, the Museum of Fine Arts\, Leipzig (Germany) and the Williamsburg Museum of 21st Century Art in Brooklyn\, among others. Metoyer was first shown at Deborah Colton Gallery in Qatar Narratives: A Country Expressed By Its Own Voices (2008). In this exhibition\, Metoyer was selected as the only American artist\, where his work reflected on the art of the nine prominent Qatari artists also included and revealed Metoyer’s mystical connections to the Middle East. Since then he has consistently shown his breathtaking work worldwide\, exhibiting in various cities in the United States\, as well as internationally in Italy\, Germany\, Peru\, the United Kingdom\, France\, China\, Cuba and the United Arab Emirates. \nBabies: Walk on Water: Present\, Future and Time Travel is the visual expression of the notion that inherent in new life is untouched wisdom. This intelligent intuition is a divine gift that is imparted upon us through the birth and existence of a pure being – the baby. Present from the first moments of consciousness in the womb\, this universal knowledge lies latent in the physicality of a fragile new being\, protected and preserved as the baby is unable to speak a worldly language. As one ages\, this untouched wisdom is replaced with the knowledge of experience and its external manifestation—communication. Gradually\, the pursuit of knowledge and the experience of chronological time obscures this original unadulterated vision\, however one can forever find this eternal link in life anew\, through the baby’s presence of goodness\, innocence and unconditional love. In doing so\, this can restore the memory of the infinite wisdom of the pure being. \nDeborah Colton Gallery is founded on being an innovative showcase for ongoing presentation and promotion of strong historical and visionary contemporary artists worldwide\, 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 artists to make positive change \n  Save  
URL:https://artinamericaguide.com/event/angelbert-metoyer-babies-walk-on-water-present-future-and-time-travel/
LOCATION:Deborah Colton Gallery\, 2445 North Boulevard\, Houston\, 77098\, United States
CATEGORIES:Exhibition
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BEGIN:VEVENT
DTSTART;TZID=America/Halifax:20121117T080000
DTEND;TZID=America/Halifax:20130131T170000
DTSTAMP:20260403T140337
CREATED:20190424T132415Z
LAST-MODIFIED:20190424T132415Z
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SUMMARY:Soody Sharifi: The Desert Beyond the City Belongs to Me
DESCRIPTION:Soody Sharifi \nThe Desert Beyond the City Belongs to Me \nNovember 17\, 2012 – January 19\, 2012 \nOpening Reception: Saturday\, November 17\, 2012\, 6:00 to 9:00 p.m. \nDeborah Colton Gallery is pleased to announce\, The Desert Beyond the City Belongs to Me\, a solo exhibition featuring new work by Iranian-American multimedia artist Soody Sharifi. This exhibition opens Saturday\, November 17th with a public reception from 6:00 to 9:00 pm. \nThrough the visual juxtaposition of cityscapes and desert landscapes\, the series The Desert Beyond the City Belongs to Me tells the story of cultural and political life in 21st century Iran\, in all its rich complexity. Reminiscent of Breughel and Bosch landscapes\, Soody Sharifi’s new series stages a dizzying range of events\, from Peeping Toms in Iran’s segregated beaches to protesters filling the streets of Tehran. Colliding dynamic urban conditions with the ritualistic practices of the remote\, rural Middle East\, The Desert Beyond the City Belongs to Me seamlessly speaks to larger geopolitical issues. An example of such an issue can be found in the protest movement that followed the highly contested 2009 Iranian presidential election. Not only did this public outcry foreshadow the greater region’s “Arab Spring\,” (a term given to the widespread wave of demonstrations\, protests\, and wars occurring during the still ongoing Arab Revolution)\, but it also brought to the surface an underlying tension at the very heart and name of the country itself: between a republic and a theocracy\, between public and private\, between the secular and the sacred\, all as found in Sharifi’s work. By bringing elements of traditional Persian iconography together with contemporary subjects\, The Desert series approaches these complex issues with a compelling collapse of time and space. \nSoody Sharifi is an Iranian/American artist based in Houston. Her work primarily deals with the paradoxes and contradictions inherent in living between two cultures. In many of her series\, she has explored the notion of identity and what it means to participate in two cultures from both an outsider’s and an insider’s perspective. \nA 2011 Jameel Prize nominee\, Soody Sharifi has been exhibited nationally and internationally\, including museum exhibitions at the V&A in London\, l’Institut du Monde Arabe in Paris\, in Finland and in Norway. Her work has been collected by major patrons worldwide and is included in the collections of such institutions as the Portland Museum of Art and the Museum of Fine Arts\, Houston\, among others. \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/soody-sharifi-the-desert-beyond-the-city-belongs-to-me/
LOCATION:Deborah Colton Gallery\, 2445 North Boulevard\, Houston\, 77098\, United States
CATEGORIES:Exhibition
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BEGIN:VEVENT
DTSTART;TZID=America/Halifax:20130223T080000
DTEND;TZID=America/Halifax:20130420T170000
DTSTAMP:20260403T140337
CREATED:20190424T132351Z
LAST-MODIFIED:20190424T132351Z
UID:51985-1361606400-1366477200@artinamericaguide.com
SUMMARY:Harif Guzman: Dying to Live
DESCRIPTION:Harif Guzman \nDying to Live \nFebruary 23 through April 20\, 2013 \nOpening Reception: Saturday\, February 23\, from 6:00 to 9:00 pm \nDeborah Colton Gallery is pleased to present the Texas debut of artist Harif Guzman with his solo exhibition Dying to Live. Dying to Live opens Saturday\, February 23\, 2013 with a reception for the artist 6:00 to 9:00 pm. \nHarif Guzman\, born in Venezuela\, spent much of his childhood surrounded by his mother and sisters And was influenced strongly by his father (a printer and typesetter). As a little boy in 1980\, Guzman came New York City. Guzman calls New York not only home\, but his canvas and inspiration. The inspiration of his work derives from mechanical reproduction and the hands-on kill-based technique that refuses the deadening effects of iconographical conformity. Further inspiration is the result of Guzman’s earliest experiences of image making and the honest craft that he encountered working in his father’s print workshop as a boy. The subsequent trajectory of his path from shop worker\, street-smart skate punk\, busboy\, and valet\, to the art gallery\, involves an alchemical shift as humble cast-offs become Fine Art gold in his studio. \nGuzman’s work explores the idea of behavior and human transformation. The reclaimed materials Guzman employs are not just physical elements but deeply rooted second hand imagery that characterizes the contemporary urban existence. At times portraying urban life as simply an assemblage of humanity\, Guzman simultaneously forces the concept of a deeper\, in-depth individuality. This individuality is subtle and purposely consumed within Guzman’s works. \nRelevant themes of power\, death and money become romanticized as Guzman exposes human addictions within culture extremes. He collectively explores the concept of behavior adjacent to obsession yet individually and aggressively exploits it through visually capturing commonality and the elemental functions that drive us. Circumventing the traditionally approved arc that takes an artist from art school to art gallery\, Guzman’s unorthodox route from the basemetal street artist to the gold of the accomplished work centers his attention in a stylish\, contemporary urban idiom. \nHarif Guzman’s works have been included in numerous international exhibitions in London\, Tokyo\, Sydney as well as throughout the United States in New York\, Miami\, San Francisco\, and Los Angeles. \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\, and conceptual and 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/harif-guzman-dying-to-live/
LOCATION:Deborah Colton Gallery\, 2445 North Boulevard\, Houston\, 77098\, United States
CATEGORIES:Exhibition
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BEGIN:VEVENT
DTSTART;TZID=America/Halifax:20130323T080000
DTEND;TZID=America/Halifax:20130511T170000
DTSTAMP:20260403T140337
CREATED:20190424T130521Z
LAST-MODIFIED:20190424T130521Z
UID:51987-1364025600-1368291600@artinamericaguide.com
SUMMARY:Frank Rodick: Selections from Labyrinth of Desire
DESCRIPTION:McKinney Avenue Contemporary\, Dallas\, Texas\n\n\nMarch 23\, 2013 to May 11\, 2013\n\n  Save  
URL:https://artinamericaguide.com/event/frank-rodick-selections-from-labyrinth-of-desire/
LOCATION:The MAC\, 1503 S Ervay Street\, Dallas\, TX\, 75215\, United States
CATEGORIES:Exhibition
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BEGIN:VEVENT
DTSTART;TZID=America/Halifax:20131109T080000
DTEND;TZID=America/Halifax:20131228T170000
DTSTAMP:20260403T140337
CREATED:20190424T130458Z
LAST-MODIFIED:20190424T130458Z
UID:51989-1383984000-1388250000@artinamericaguide.com
SUMMARY:Jonas Mekas: LIFE GOES ON…I KEEP SINGING
DESCRIPTION:Deborah Colton Gallery  \nLIFE GOES ON… I KEEP SINGING \n November 9 through December 28\, 2013 \nPublic Artist Reception: Sunday\, November 10\, at 2:00 pm \n  \nDeborah Colton Gallery is pleased to present selected works and video installations by Jonas Mekas in an exhibition entitled “LIFE GOES ON… I KEEP SINGING” which includes still frame photographs produced from material from Mekas’s films. The exhibition opens November 9th and continues through December 28th\, 2013. The Gallery will host an Artist Reception open to the public on Sunday\, November 10th at 2:00 pm\, which will include a Q+A with Jonas Mekas and Deborah M. Colton. \nJonas Mekas is the Founder of Anthology Films in New York\, a filmmaker\, poet\, writer\, and artist. Jonas Mekas captured moments that we all cherish in art history\, in American history\, in life… from filmmakers\, Salvador Dali\, Kennedy’s\, Warhol\, Yoko Ono and John Lennon\, Elvis Presley\, the World Trade Center… to the more personal special moments of nature\, his family\, being human and celebrating life\, cherishing each experience to the fullest. \nIn addition to the video created for this exhibition\, FRAGMENTS OF PARADISE that is cohesive with the main gallery room exhibition\, Deborah Colton Gallery will be featuring the video WTC HAIKUS. 2010. As Mekas describes this:\n“‘Looking through my finished and unfinished films\, I was surprised how many glimpses of the World Trade Center I caught during my life in SoHo. I had a feeling I was Hokusai glimpsing Mount Fuji. Only that it was the World Trade Center. The World Trade Center was an inseparable part of my and my family’s life during my SoHo period from 1975-1995. This installation is my love poem to it. My method in constructing this piece was simply to pull out images of the WTC from my original footage\, while including some of the surrounding scenes. The result I felt came close\, albeit indirectly\, to what in poetry is known as the Haiku.” \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 founded Film Culture magazine; 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 Film-makers’ Cinematheque\, which eventually grew into Anthology Film Archives. His own output varies from 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 to John and Bed-In. 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 art. \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\, Golden Medal from Philadelphia College of Art\, “For the devotion\, passion and selfless dedication to the rediscovery of the newest art\,” 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. \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. Last December Mekas participated in an extensive presentation at Serpentine Gallery\, London and the Centre Pompidou in Paris. Most recently there opened an exhibitions of his works at the State Hermitage Museum in Saint Petersburg\, Russia\, at the Cinémathèque Royale and the Bozar Center for Fine Arts\, both in Brussels\, Belgium. \nJonas Mekas is a featured artist and special guest of the 2013 Houston Cinema Arts Festival\, which will present his film Sleepless Night Stories as part of the festival’s “Cinema on the Verge” programming that highlights the most adventurous film and installation work by experimental media artists. Sleepless Night Stories debuted at the Berlin Film Festival in February 2011 and continues to enthrall audiences with Mekas’s recording the seemingly mundane happenings in his life. \nDeborah Colton Gallery first debuted Jonas Mekas in Houston in the solo exhibition Film Framed at 2500 Summer Street in 2005. In 2007\,Jonas Mekas was also included in the Group Exhibition at Deborah Colton Gallery\, Chemical City. Since then Deborah Colton Gallery continues to represent Jonas Mekas\, including a one-man solo exhibtion at Paris Photo Los Angeles in April of 2013\, and through projects via the Gallery’s OUTPOST NYC DCG. \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 artists to make positive change. \n  Save  
URL:https://artinamericaguide.com/event/jonas-mekas-life-goes-oni-keep-singing/
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:20140102T080000
DTEND;TZID=America/Halifax:20140125T170000
DTSTAMP:20260403T140337
CREATED:20190430T125922Z
LAST-MODIFIED:20190430T125922Z
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SUMMARY:Jonas Mekas: LIFE GOES ON…I KEEP SINGING\, Part Two
DESCRIPTION:Deborah Colton Gallery \nLIFE GOES ON… I KEEP SINGING\, Part Two \nJanuary 2 through January 25\, 2014 \nDeborah Colton Gallery is pleased to present selected works and video installations by Jonas Mekas in an exhibition entitled “LIFE GOES ON… I KEEP SINGING” which includes still frame photographs produced from material from Mekas’s films. The exhibition opens November 9th and continues through December 28th\, 2013. The Gallery will host an Artist Reception open to the public on Sunday\, November 10th at 2:00 pm\, which will include a Q+A with Jonas Mekas and Deborah M. Colton. \nJonas Mekas is the Founder of Anthology Films in New York\, a filmmaker\, poet\, writer\, and artist. Jonas Mekas captured moments that we all cherish in art history\, in American history\, in life… from filmmakers\, Salvador Dali\, Kennedy’s\, Warhol\, Yoko Ono and John Lennon\, Elvis Presley\, the World Trade Center… to the more personal special moments of nature\, his family\, being human and celebrating life\, cherishing each experience to the fullest. \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 founded Film Culture magazine; 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 Film-makers’ Cinematheque\, which eventually grew into Anthology Film Archives. His own output varies from 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 to John and Bed-In. 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 art. \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\, Golden Medal from Philadelphia College of Art\, “For the devotion\, passion and selfless dedication to the rediscovery of the newest art\,” 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. \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. Last December Mekas participated in an extensive presentation at Serpentine Gallery\, London and the Centre Pompidou in Paris. Most recently there opened an exhibitions of his works at the State Hermitage Museum in Saint Petersburg\, Russia\, at the Cinémathèque Royale and the Bozar Center for Fine Arts\, both in Brussels\, Belgium. \nJonas Mekas is a featured artist and special guest of the 2013 Houston Cinema Arts Festival\, which will present his film Sleepless Night Stories as part of the festival’s “Cinema on the Verge” programming that highlights the most adventurous film and installation work by experimental media artists. Sleepless Night Stories debuted at the Berlin Film Festival in February 2011 and continues to enthrall audiences with Mekas’s recording the seemingly mundane happenings in his life. \nDeborah Colton Gallery first debuted Jonas Mekas in Houston in the solo exhibition Film Framed at 2500 Summer Street in 2005. In 2007\,Jonas Mekas was also included in the Group Exhibition at Deborah Colton Gallery\, Chemical City. Since then Deborah Colton Gallery continues to represent Jonas Mekas\, including a one-man solo exhibtion at Paris Photo Los Angeles in April of 2013\, and through projects via the Gallery’s OUTPOST NYC DCG. \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 artists to make positive change. \n  Save  
URL:https://artinamericaguide.com/event/jonas-mekas-life-goes-oni-keep-singing-part-two/
LOCATION:Deborah Colton Gallery\, 2445 North Boulevard\, Houston\, 77098\, United States
CATEGORIES:Exhibition
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BEGIN:VEVENT
DTSTART;TZID=America/Halifax:20140201T080000
DTEND;TZID=America/Halifax:20140308T170000
DTSTAMP:20260403T140337
CREATED:20190501T184904Z
LAST-MODIFIED:20190501T184904Z
UID:52334-1391241600-1394298000@artinamericaguide.com
SUMMARY:Paul Horn: Ancient Aliens
DESCRIPTION:Deborah Colton Gallery  \nPaul Horn: Ancient Aliens  \nFebruary 1 to March 8\, 2014 \nOpening Reception: Saturday\, February 1st\, 2014\, 6:00 to 9:00 pm \nDeborah Colton Gallery is pleased to present Ancient Aliens\, an exhibition of new artworks from artist Paul Horn. Ancient Aliens\, as with all Paul Horn productions\, is a commentary on the pulse of popular culture in the present. This exhibition opens on Saturday\, February 1st with a public reception from 6:00 to 9:00 pm in conjunction with the Bert L. Long Jr. exhibition and fundraiser. \nPaul Horn is an enthusiastic Houston based artist and curator best known for his collaged “pop ups” and assemblages works which incorporate comics\, cartoon characters\, action figures and other plastic toys and his outlandishly curated art exhibitions and events. His exhibits and events are known for their originality and high energy that always attract large crowds. He has curated several exhibitions\, including Paul-Mart for Plastic Fantastic in 2011\, Use Your Illusion in 2011\, and the very successful Camp Lucky for Deborah Colton Gallery in 2004 that attracted over 1\,200 people. This historical Houston evening which helped permanently change the art scene for the positive in the First Ward Artist Studio area. \nHorn’s curatorial projects\, exhibitions\, and unique art events include wide varieties of media from installation to performance controlled by a contorted Pop environment. His curatorial debut at Deborah Colton Gallery\, Camp Lucky\, invited key artists like Scott Burns\, Sharon Engelstein\, Mark Flood\, Jeremy Eilers\, Bill Davenport\, Francessca Fuchs\, Rachel Hecker\, Kyle Hendricks\, Aimee Jones\, Anthony Liberto\, Theresa O’Connor\, Aaron Parazette\, Jenny Schlief and Jason Villegas\, from galleries throughout the city and included interactive performances and collaborations with the Art Guys\, I Love you Baby and others. Taking a pretty dead part of town before Deborah Colton Gallery opened it 6\,500 square foot Gallery on the top floor the artist studio building of 2500 Summer Street a few months earlier\, the impact this exhibition/happening had on the city gave a surge of energy to this district\, causing Winter Street to be bought and restored shortly thereafter and the First Ward eventually becoming an Arts District for artist studios with Deborah Colton Gallery’s impact and continued support in the area through 2008. Paul Horn’s most recent curated collaborative Paul-Mart\, which proclaimed “Stackin’ Em High\, Sellin’ ‘Em Cheap\,” paralleled and parodied the Wal-Mart concept\, commenting on democratic retailing and discount volumes; all art offerings were priced at $99.99 or less at Deborah Colton Gallery’s Plastic Fantastic exhibition\, curated by Catherine D. Anspon. \nHorn carefully orchestrates exhibitions that contextualize artwork in non-traditional exhibition environments meant to enhance the viewing experience. Using venues from a Holiday Inn to an elevator carriage\, he has not only made the art a focal point but questions the way we view the work as well. He continues to question the role of artist as curator and finds new and interesting ways to contextualize work by a range of established and upcoming artists. \nHorn began his art career during his graduate studies at the University of Houston (1999-2001). He was represented by the Texas Gallery until moving to Deborah Colton Gallery and since then has collaborated on four previous exhibitions and performance art installations with the Deborah Colton Gallery. Previous shows were staged in Houston’s Quick Mart Convenience Store and at a Holiday Inn. He has also shown at the Contemporary Arts Museum of South Florida’s University and the Ulrich Museum of Art in Wichita\, Kansas\, the Dallas Art Fair\, the Houston Art Fair among others. Horn’s work has been reviewed by Art in America and ArtForum and is in many prominent private and institutional collections. \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 artists to make positive change. \n  Save  
URL:https://artinamericaguide.com/event/paul-horn-ancient-aliens/
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:20140201T080000
DTEND;TZID=America/Halifax:20140308T170000
DTSTAMP:20260403T140337
CREATED:20190430T163531Z
LAST-MODIFIED:20190430T163531Z
UID:52332-1391241600-1394298000@artinamericaguide.com
SUMMARY:Bert: Back and Beyond
DESCRIPTION:Deborah Colton Gallery  \nBert: Back and Beyond  \nFebruary 1 to March 8\, 2014 \nOpening Reception and Fundraiser: Deborah Colton Gallery\, Saturday\, February 1st\, 2014\, 6:00 to 9:00 pm \nFebruary 1st\, 2014 marks the anniversary of Bert Long’s passing to Beyond\, but he is still with us always … and his presence will come back in full glory for this joyful event of his works and life! \nA celebration of Bert L. Long Jr. and a fundraiser for his book\, Riding the Tiger: The Art and Life of Bert L. Long Jr. and the Bert Long Foundation. \n Host Committee  \nThe Art Guys John Alexander Blazek & Vetterling LLP Cyndy Allard Catherine D. Anspon George Barnstone Joan Batson Dr. William Camfield Jereann Chaney Deborah M. Colton Sara Balinskas and Jeff Debevec Jim Edwards Dr. Carolyn Farb\, hc Joe Havel Melanie Lawson and John Guess Jr. Kirk Hopper Toby Kamps George O. Jackson de Llano Sharon and Gus Kopriva Rick Lowe Dr. Penelope and Lester Marks Poppi Massey Tatiana and Craig Massey Star and Jack Massing Angelbert Metoyer Robert Morris Valerie Cassel Oliver Marilyn Oshman Erin and Adrian Patterson Diane Rudy Manny Sanchez Linda Shearer Charmain Locke and James Surls Cynthia Toles Dr. Alvia Wardlaw Clint Willour  \n  \nComplimentary valet\, cocktails and delectables. \nMusic: Blues Legends\, Texas Johnny Boy & Milton Hopkins \nMaster of Ceremonies: The Art Guys \n$25 donation at door to Houston Artists Fund to benefit Bert’s book. https://houstonartistsfund.org \nThe Houston Artists Fund is a §501 (c)(3) tax-exempt public charity that serves as an umbrella organization for the Houston arts community. It was created to fiscally sponsor art-related projects and organizations that intend to raise funds from individuals\, foundations\, and corporate donors\, but do not have their own tax-exempt status. During the past twelve years\, the Houston Artists Fund has sponsored projects for publications for Lucas Johnson\, Charles Schorre\, MANUAL\, James Surls\, George O. Jackson and Bernard Brunon. Current projects include a book about Bert L. Long Jr.\, and a biography of John and Dominique de Menil by William Middleto. \nArtwork sales are through Deborah Colton Gallery where a portion of the sales will be used to start the Bert Long Foundation. The exhibition is in conjunction with Kirk Hopper Gallery\, Dallas. \nMore details on Bert: Back & Beyond can be found on www.deborahcoltongallery.com\, under Artists section and Future Exhibitions. \nBert L. Long Jr.\, was self-taught artist\, was born in 1940 in Texas\, grew up the Houston’s historic Fifth Ward and received his formal education from UCLA. Following a career as a master chef Long decided to devote himself entirely to art in 1979. He began to explore folk art and assemblage to create a unique body of work\, attracting the attention of Jim Harithas\, then Director of the Contemporary Arts Museum Houston\, and artists John Alexander\, Salvatore Scarpitta and James Surls. His life spanned an era of radical change in the American social climate\, the influence of which can be seen clearly in his work. \nLong’s paintings and sculptures incorporate a high level of skill and sophisticated knowledge of art history\, along with complex philosophical and social issues. Long describes the philosophy behind his work as “a quest to help people diagnose their inner self\,” believing his art to be “the vehicle to help facilitate the process.” \n“As artists we have the obligation to provide the world with art which communicates as truth. I believe that art has the power to heal our souls of their afflictions. I try to create art which helps to diagnose the prevalent conditions within our societies\, hopefully providing an insightfulness which will help us all become brothers and sisters united in equality and compassion” – Bert L. Long\, Jr. \nThe late Peter Marzio\, former Director of the Museum of Fine Arts\, Houston\, said of Bert Long: \n“Bert Long does not avert his gaze from that which is painful\, but as [his artworks] testify\, he also brings a spirit of joy and redemption to his art. We can all learn from this great artist.” \nOver Long’s 33-year career as a painter\, sculptor\, and photographer\, he was awarded several significant awards including the National Endowment for the Arts Grant in 1987 and the prestigious Prix de Rome fellowship in 1990. Other notable awards of Long’s include the Texas Accountants and Lawyers for the Arts Artist of the Year Award in 2009\, the Adolph and Esther Gottlieb Foundation Emergency Assistance Grant in 1997\, The Rome Prize Fellowship\, 1990-91\, the Houston Art League Texas Artist of the Year in 1990\, the NEA Visual Artists Fellowship Grant\, 1987 and the Bemis Foundation Residency in 1998. His work can be seen in over 100 private and public collections worldwide\, including the Metropolitan Museum of Art\, Dallas Museum of Art\, Houston Museum of Fine Art\, Blanton Museum of Art\, the El Paso Museum of Art and the Instituto de Bachillerato in Spain. \nThough the Houston art community suffered a great loss at Long’s passing last February\, his life’s vision and work continue to make a huge impact in the art world of today. \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 artists to make positive change. \n  Save  
URL:https://artinamericaguide.com/event/bert-back-and-beyond/
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:20140314T080000
DTEND;TZID=America/Halifax:20140426T170000
DTSTAMP:20260403T140337
CREATED:20190430T170056Z
LAST-MODIFIED:20190430T170056Z
UID:52336-1394784000-1398531600@artinamericaguide.com
SUMMARY:Suzanne Anker: Remote Sensing: Micro-landscapes and Untold Stories
DESCRIPTION:Deborah Colton Gallery  \nFotoFest 2014: Suzanne Anker: Remote Sensing: Micro-landscapes and Untold Stories  \nMarch 14\, 2014 – April 26\, 2014 \nOpening Reception: Friday\, March 14\, 2014\, 6:00 – 9:00 pm Artist Talk: with Suzanne Anker\, Sunday\, March 16\, 2014\, 2:00 pm \nDeborah Colton Gallery\, a participating space in the FOTOFEST 2014 Biennale\, is pleased to present Remote Sensing: Micro-landscapes and Untold Stories\, an exhibition of artworks from the accomplished visual artist and theorist Suzanne Anker. This exhibition opens on Friday\, March 14th with a public reception from 6:00 to 9:00 pm and an Artist Talk with Suzanne Anker on Sunday\, March 16th at 2:00 pm \nFrom microscopic imagery to video animations\, from time-lapse photography to rapid prototyped sculpture\, Remote Sensing\, is an ode to nature’s delicacy and decay. While high technology tools extend our vision to access sites yet unknown\, at the same time such intrusions can be dire. Remote Sensing: Micro-Landscapes and Untold Stories brings together underwater motifs of animals that look like flowers\, “vanitas” in Petrie dishes inspired by art history\, porcelain sponge sculptures that appear as coral or meteorites\, and high tech 3-D extruded sculptures which reference tiny wondrous landscapes. \nContinuing to work at the nexus of art and the biological sciences\, this exhibition brings into focus visions of a “future/natural” in which life’s ebb and flow\, always in flux\, combine with its synthetic other. In Anker’s work nothing is what it appears to be\, yet visual representations abound. Although there are many references to the “still life” as a genre in visual art\, the moving images address the fact that life is not still. \nWorking with images garnered from marine research centers such as Woods Hole Oceanographic Institution in Massachusetts and MOTE Marine Laboratory\, on Summerland Key in Florida\, the viewer becomes aware of the intricacies of nature and the need to preserve it. Other images are derived from the Museum of Southwestern Biology at the University of New Mexico’s research facility in which samples are collected in the wild and housed in drawers and cabinets for further study. Not intended to be a scientific study of nature as data\, these images and objects talk at once to a scientific imaginary fused with cultural necessity. How we perceive the natural world is tantamount to discovery. How we re-imagine the living world as an interconnected network fuses what was once science fiction to the real. \nSuzanne Anker is a visual artist and theorist working at the intersection of art and the biological sciences. She works in a variety of mediums ranging from digital sculpture and installation to large-scale photography and projected video\, to plants grown by the light of LEDs. Her work has been shown both nationally and internationally in museums and galleries including the first International Biennial in Cartagena\, Columbia\, the Walker Art Center\, the Smithsonian Institute\, the Phillips Collection\, P.S.1 Museum\, the JP Getty Museum\, the Mediznhistorisches Museum der Charite in Berlin\, the Center for Cultural Inquiry in Berlin\, the Pera Museum in Istanbul and the Museum of Modern Art in Japan. \nThe Huffington Post: Seeing Ourselves: The Science and Art of Diagnostic Medical Imaging \nAnker is also presently the Chair of the Fine Arts Department of the School of Visual Arts in Manhattan\, where she initiated and introduced the Nature and Technology Lab\, where students have the opportunity to engage with nature and art making simultaneously through multidisciplinary exploration known today as Bio Art. Anker lectures widely around the world\, including several Max-Planck Institutes\, Universities of Leiden and Amsterdam in the Netherlands\, the Hamburger Bahnhof Museum in Berlin\, the Courtauld Institute of Art in London\, Banff Art Center in Canada\, Yale University\, Universidad Nacional Autonoma de Mexico\, Mexico City any most recently at Harvard University. \nNew York Times: Where Art Studio Meets Science Lab  \nNew York Times: Technology: FOOTLIGHTS  \nNYCityWoman: Suzanne Anker: Doyenne of Bio Art \nIn Anker’s role as an educator she has been successful in publishing and contributing to many academic volumes which express an emphasis on the incorporation of scientific and technological influence to explore the ways in which our social\, ethical\, and cultural values are shaped. Publications of Anker’s include\, among many\, The Molecular Gaze: Art in the Genetic Age\, co-authored with the late sociologist Dorothy Nelkin\, published in 2004 by Cold Spring Harbor Laboratory Press\, Visual Culture and Bioscience\, co-published by University of Maryland and the National Academy of Sciences in Washington\, D.C. Her writings have appeared in Art and America\, Seed. Nature Reviews Genetics\, Art Journal\, Tema Celeste and M/E/A/N/I/N/G. Her work has been the subject of reviews and articles in the New York Times\, Artforum\, Art in America\, Flash Art\, and Nature. She has been a speaker at Harvard University\, the Royal Society in London\, Cambridge University\, Yale University\, the London School of Economics\, the Max-Planck Institute\, University of Leiden\, the Hamburger Bahnhof Museum in Berlin\, the Courtauld Institute of Art in London\, Banff Art Center and many others. Chairing SVA’s Fine Arts Department in NYC since 2005\, Ms. Anker continues to interweave traditional and experimental media in her department’s new digital initiative. \nNew York Times: ART REVIEW; The Haunting Terrain Between Creation and Science \nSuzanne Anker debuted at Deborah Colton Gallery during the 2004 October – November exhibition\, Touch and Temperature: Art in the Cybernetic Totalism. Curated by Michael Rees\, this group exhibition investigated the ways in which new technologies have been incorporated into the fine arts. Examples presented in the exhibition included computational video and rapid protyped sculptures. In 2005 Anker had an expansive solo exhibition at Deborah Colton Gallery\, titled Future Natural\, which introduced themes much ahead of their time. This exhibition brought together Suzanne Anker’s work in the areas of neuroscience and genetics and consisted of paintings\, sculptures and prints\, images of chromosomes\, brain scans\, and Rorschach tests combined with scripts and butterflies to create a morphology of symmetry and codes. \nTouch and Temperature: Art in the Cybernetic Totalism Suzanne Anker: Artist Talk from Touch and Temperature: Art in the Cybernetic Totalism Suzanne Anker: Future Natural  \nDuring FotoFest of 2008\, Anker had a solo exhibition at Deborah Colton Gallery\, titled Bio-Blurbs\, which presented a series of photographic works by Anker\, which were inspired by the transformation of matter through scientific investigation\, namely botanical inquiry. This exhibition showcased Suzanne Anker’s photographic and animation works. Bringing together several motifs such as pictorial representations of animals at markets\, scientific laboratories with overlaid gardens\, and fetuses housed in glass vessels\, this show questioned the differences in values concerning life forms. \nSuzanne Anker currently has an exhibition at the MAC in Dallas\, While Darkness Sleeps\, which debuts a new series of artworks. As in previous exhibitions Anker continues to explore life/death continuums in various forms through her work. An excerpt of this work will also be shown at the Deborah Colton Gallery booth at the 2014 Dallas Art Fair this April. \nPaperCity Magazine: Art Notes \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 artists to make positive change. \n  Save  
URL:https://artinamericaguide.com/event/suzanne-anker-remote-sensing-micro-landscapes-and-untold-stories/
LOCATION:Deborah Colton Gallery\, 2445 North Boulevard\, Houston\, 77098\, United States
CATEGORIES:Exhibition
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SUMMARY:Soody Sharifi: The Space Within
DESCRIPTION:Deborah Colton Gallery  \nFotoFest 2014: Soody Sharifi: The Space Within  \nMarch 14\, 2014 – April 26\, 2014 \nOpening Reception: Friday\, March 14\, 2014\, 6:00 – 9:00 pm \nDeborah Colton Gallery\, a participating space in the FOTOFEST 2014 Biennale\, is pleased to present The Space Within\, an exhibition of artworks from Iranian-American artist Soody Sharifi. The Space Within is a photographic exploration of the expansive and contradictory territory that lies between public identity and private self. This exhibition opens on Friday\, March 16th with a public reception from 6:00 to 9:00 pm. \nThe Space Within addresses an internal conflict\, the condition of being at once a part of and apart from one’s culture. Through a series of self-conscious portraits and fantastic desert tableaus\, this exhibition explores the conceptual space where private and public impinge upon one another. \nFocusing on personal side of things\, the portraits develop the theme of public and private as one of internal negotiation. Haunted faces hint at vast inner landscapes\, where conflicted men and women struggle to separate who they really are from what they feel compelled to be. Traditional gender expectations loom large\, but introspective poses and dreamy gazes clue the viewer not to take the conflation of self-identity and public persona at face value. \nWhile a group of oversized photographic collages shifts the perspective from the personal to the political. In these surreal desert landscapes\, populated by figures plucked from the medieval miniature tradition\, the encounter between private and public reads more as clash than collaboration. Playfully exploding the viewer’s sense of time and place\, these works cast their hapless characters into an imaginative arena\, where\, in a series of encounters both humorous and violent\, they are condemned to play out the perennial conflicts between the individual and society. Both genders battle with the forces of authority and tradition\, enacting scenes that are both timeless and timely. \nSoody Sharifi is an Iranian/American artist based in Houston. Her work primarily deals with the paradoxes and contradictions inherent in living between cultures—cultures being broadly and variously conceived. In many of her series\, she has explored the notion of identity and what it means to participate in a particular culture from both an outsider’s and an insider’s perspective. She has investigated this concept as it applies to Moslem youth in Iran and the USA\, and as it applies to women as archetypal insideroutsiders within their respective cultures. \nSharifi\, a 2011 Jameel Prize nominee\, has been exhibited nationally and internationally\, including at the Baku Biennial of Contemporary Art\, Azerbaijan\, the Victoria and Albert Museum in London\, L’Institut du Monde Arabe in Paris\, at the Contemporary Arts Museum\, Houston and in museum group exhibitions in Norway and Finland. Her work has been collected by major patrons worldwide and is included in the collections of such institutions as the Portland Museum of Art and the Museum of Fine Art Houston\, among others. \nDeborah Colton Gallery is founded on being an innovative showcase for ongoing presentation and promotion of strong historical and visionary contemporary artists worldwide\, 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 artists to make positive change. \n  Save  
URL:https://artinamericaguide.com/event/soody-sharifi-the-space-within/
LOCATION:Deborah Colton Gallery\, 2445 North Boulevard\, Houston\, 77098\, United States
CATEGORIES:Exhibition
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