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SUMMARY:Nicky Broekhuysen: The Wind in High Places
DESCRIPTION:Davidson Gallery is pleased to present The Wind in High Places\, an exhibition of new paintings on linen by Nicky Broekhuysen (b. 1981\, Cape Town\, RSA). While she has not abandoned her signature use of 1s and 0s\, this show – Broekhuysen’s third with the gallery – marks a shift in her practice. That shift was initiated in 2019 when she moved from Berlin to the French Pyrenees. The change from the city to nature was also a move from noise to quietness. In the quietness of the mountains\, Broekhuysen found new things to hear and new conversations to have. \n  \nIn the years since adopting her use of binary code as building blocks for her work\, much has changed. As we move from a binary world to a world of quantum computing and artificial intelligence\, that notion of a binary world must move too. Broekhuysen’s work has always been about change and the possibility for change inherent in the potential of the one and zero of binary code. By placing the ideas of ‘binary’ to the side\, the artist began to see the 1 and 0 more in terms of their original forms: a line and a circle. The line began to embody the idea of the individual or separateness – quite literally “I” – and the circle as a representation of the connected whole. \n  \nChange from the perspective of living in a city can often appear rapid and brutal. In nature\, however\, there is a subtlety to the way that change reveals itself. There is a slowness to the passing of time: one has to pay attention to catch the many subtle moments of transition as the colors change from one season to the next. In The Wind in High Places\, light\, form\, and color meld to create barely perceived land- and skyscapes. Mountains seem to emerge from mist as background colors combine with Broekhuysen’s pointillist method. The palette used in this exhibition captures the metamorphosis of the mountain slopes from the coolness of winter to the first vibrant green moments of spring. For in nature\, we indeed feel home and as we locate ourselves (the “I”) within the circle\, we again feel ourselves as part of a collective world plugged into the network of nature. \n  \nNicky Broekhuysen was born in 1981 in South Africa. At the age of 13 her family moved to New Zealand where she completed her studies. After graduating with a Bachelor of Fine Arts Degree from Auckland University\, she moved to Shanghai\, China in 2006. It was in Shanghai that she first began working with binary numbers 1 and 0. In 2008 Broekhuysen moved to Berlin\, Germany where she continued to develop her language of binary code\, exhibiting both in Berlin and internationally for the following 11 years. Recently\, in 2019 she has relocated her studio to The Pyrenees in France to be closer to nature and where she continues to create and exhibit.
URL:https://artinamericaguide.com/event/nicky-broekhuysen-the-wind-in-high-places/
LOCATION:Davidson Gallery\, 521 West 26th Street\, New York\, NY\, 10001\, United States
CATEGORIES:Exhibition
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SUMMARY:George Rickey: A Survey
DESCRIPTION:Davidson Gallery presents\, George Rickey: A Survey\, an exhibition of works by acclaimed sculptor George Rickey. This show marks the 18th solo exhibition at the gallery for George Rickey\, dating back to their first collaboration in the 1970s. Rickey’s work runs the gamut from intimate and delicate to monumental. Throughout his career\, George Rickey refused to be pigeonholed\, constantly reimagining kinetic sculpture and always trying to define motion in ways that other artists did not. From his earliest hanging sculptures\, reminiscent of Alexander Calder’s mobiles\, to his first major outdoor work which is now in the collection of MoMA\, Rickey constantly changed scale\, material\, form\, and technology\, but always with a throughline of motion that was his legacy. \nRickey approached his art with a constructivist mindset\, he was both a collector of Constructivist material (his collection of Constructivist works is now at the Neuberger Museum) and close friends with Antoine Pevsner and Naum Gabo. His most well-known works – those made of brushed stainless steel forms – epitomize the austerity of Constructivism\, but also the forward-looking\, self-aware stance that art is and must be socially integrated. Rickey’s work\, cutting through space\, defining motion\, intimating identifiable forms while maintaining its abstraction\, remains masterful and contemporary.
URL:https://artinamericaguide.com/event/george-rickey-a-survey/
LOCATION:Davidson Gallery\, 521 West 26th Street\, New York\, NY\, 10001\, United States
CATEGORIES:Exhibition
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DTSTART;TZID=America/Halifax:20230223T180000
DTEND;TZID=America/Halifax:20230223T200000
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SUMMARY:Joe Rudko: Afterimage
DESCRIPTION:Davidson Gallery is pleased to present Afterimage\, a solo exhibition for visual artist Joe Rudko. Rudko’s work blends techniques of photography\, painting\, drawing\, and collage. Each new work is composed of found images – “forgotten photographs” as the artist terms them – which are then disassembled and meticulously rearranged to create rippling patterns and visual vibrations. \n  \nRudko’s process of photomontage is informed by the more traditional processes of quilting and mosaics\, but also by more modern digital forms of manipulation. In his use of photographs\, Rudko is coopting and repurposing other people’s uses of the medium as a means of remembrance and memorialization\, sometimes using the content or form as an outline or starting point for his own work\, and sometimes abstracting it beyond its own recognizability. The show’s title\, Afterimage\, refers to the perceived remnants on the retina of what is no longer visible; an afterimage itself is an illusion\, and can take the form of an outline\, color\, light\, or form. Much like a photograph\, afterimages can be negative or positive\, and vary widely in detail. Ultimately\, they are not accurate representations of what was. \n  \nThe source photographs for Afterimage were collected from the basements and attics of friends\, family\, and a variety of internet vendors. They are comprised of over a hundred years of printed photographs and their varied surfaces depict diverse subjects: a mountain landscape\, a resting hand\, a waterfall\, a camera flash\, or even an unfocused blur. Black and white prints are intertwined with color fragments from the 1990s\, and images are reversed to reveal product branding. Handwritten annotations such as “flowers”\, “me”\, and “genuine” are scattered across the surface\, adding a tactile and historical aspect to the work. The palette of recycled tones creates an alchemy of materials\, celebrating the photograph as a malleable document of memory\, ever-changing in response to the present moment. \n  \nJoe Rudko lives and works in Seattle. His work is in the permanent collection of The Getty Museum\, Portland Art Museum\, Museum of Fine Arts Houston\, Tacoma Art Museum\, and most recently in the Morgan Library & Museum in New York. He received his BFA in Photography and Drawing from Western Washington University in 2013. This is his third solo exhibition with Davidson Gallery.
URL:https://artinamericaguide.com/event/joe-rudko-afterimage/
LOCATION:Davidson Gallery\, 521 West 26th Street\, New York\, NY\, 10001\, United States
CATEGORIES:Exhibition
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DTSTART;TZID=America/Halifax:20230112T180000
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SUMMARY:Eve Biddle | Mary Ann Unger: Generation
DESCRIPTION:Davidson Gallery is delighted to present Eve Biddle | Mary Ann Unger: Generation\, a two-person exhibition by American artists Mary Ann Unger (b. 1945\, New York; d. 1998\, New York) and her daughter\, Eve Biddle (b. 1982\, New York). \nFollowing Mary Ann Unger’s acclaimed first US retrospective at the Williams College Museum of Art\, the exhibition at Davidson Gallery features a selection of works by both Unger and Biddle\, marking the first comprehensive gallery presentation of Biddle’s work. While highlighting the artists’ distinctive practices in sculpture\, drawing\, and printmaking\, Generation celebrates the creative and aesthetic dialogues that stemmed from their intimate and potent familial ties as mother and daughter. \nIn her large-scale sculptures\, outdoor works\, and intricate drawings\, Unger coalesced the quest for the geometric and the organic\, producing a constellation of linear forms and developed an investigation of the evolution of shapes. A graduate of Columbia University\, Unger worked in New York from the late 1970s until her untimely death in 1998. An artist\, writer\, and curator\, Unger treated the body\, bones\, and flesh as a matter of study\, conveying the harmony\, trauma\, and the viscerality therein. The influences of Unger on Biddle’s practice are profound and ineluctable. Moving seamlessly between sculpture and printmaking\, Biddle focuses on nature often highlighting process-making with visible handprints used as sculptural patterns. Exploring seriality and materiality\, Biddle’s sculptures\, and the subjects of her photographs resemble archeological artifacts that relay a personal account of the past and present. \nInstalled on the two gallery floors and the outdoor terrace\, and with over 30 works spanning sculptures\, prints\, and works on paper – some of which were made near the end of Unger’s life and have never been exhibited before – Generation celebrates the shared language and the vocabularies common to both artists’ practices and is a tribute to generational traditions and creative processes. The exhibition is on view from January 12 through February 18\, 2023\, and is curated by Ylinka Barotto. \n  \nAbout the Artists \nEve Biddle is an artist and a co-founder of the Wassaic Project\, an artist residency located in Wassaic\, New York. With her co-founders\, she has curated performances at MASS MoCA and participated in many public speaking engagements including at The Aldrich Museum\, Art Omi\, Bard College\, Columbia University\, Parsons School of Design\, School of Visual Arts\, and Storm King\, amongst others. She lives and works between Wassaic and New York City. \nMary Ann Unger‘s work is included in numerous private and public collections\, including the Whitney Museum of American Art\, the Art Institute of Chicago\, the Hirshhorn Museum and Sculpture Garden\, the Brooklyn Museum\, the Philadelphia Museum of Art\, and the Albright-Knox Art Gallery. Her outdoor works are on permanent view at The Fields Sculpture Park at Art Omi\, the Philip and Muriel Berman Sculpture Gardens at Lehigh University\, and the Aaron Copland School of Music at Queens College\, among many other institutions. Unger’s works have been reviewed in publications including Art in America\, Artforum\, Frieze Magazine\, The New York Times\, and Sculpture Magazine. \n  \nAbout the Curator \nYlinka Barotto is a curator and art professional who has previously worked at the Moody Center for the Arts at Rice University and the Solomon R. Guggenheim Museum. At the Moody\, she organized exhibitions and performances with national and international artists notably: Li E. Harris; Jasmine Hearn; Baseera Khan; Kapwani Kiwanga; Sondra Perry; Kameelah Janan Rasheed; Edra Soto; Clarissa Tossin\, and Charisse Pearlina Weston amongst others. Barotto was also involved in the expansion of Rice Public Art through acquisitions and commissions. At the Guggenheim\, Barotto worked on modern and postwar retrospectives as well as contemporary exhibitions and contributed to shaping and diversifying the Guggenheim’s permanent collection through acquisitions of emerging artists.
URL:https://artinamericaguide.com/event/eve-biddle-mary-ann-unger-generation/
LOCATION:Davidson Gallery\, 521 West 26th Street\, New York\, NY\, 10001\, United States
CATEGORIES:Exhibition
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DTSTART;TZID=America/Halifax:20221103T173000
DTEND;TZID=America/Halifax:20221103T193000
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SUMMARY:Heather Hart: She Cuts Through Worlds
DESCRIPTION:Davidson Gallery is proud to announce the opening of She Cuts Through Worlds\, a solo exhibition by Heather Hart. Hart’s work exists at the junction of art\, architecture\, performance\, and theory. Hart addresses and challenges current and on-going socio-political\, racial\, and economic climates using space as her medium. The use of space and spaces is both a constructive\, additive process\, as well as a reclamation or a carving-out of area – convexity as a declaration of being. Hart’s work implies the possible through architecture\, using territories and thresholds as means to challenge our presumptions about our relationships with them. \n  \nThose relationships are the starting points for She Cuts Through Worlds. Hart looks at how we as people inhabit space\, but also feel entitled to it\, and how that contributes to identity and a sense of self. The first part of the exhibition concerns Spaces and\, specifically\, Black Spaces. Hart “quotes” shards of objects or built environments that are part of Black narratives\, cultural touchstones and icons\, creating a visual lexicon whose vocabulary includes Oprah’s couch\, Uhura’s workstation\, Carrie Mae Weems’s kitchen\, and the balcony of the Lorraine Motel among others. They are moments in time\, but exist perpetually in collective consciousness and identity. The Spaces themselves juxtapose a collection of the 3D-printed “phrases”\, resting them in and upon wooden structures\, each tailored to the dialogue of Black Spaces they contain. \n  \nAdditionally\, Hart has included Fragments\, sculptures that resemble shingled rooftops – reminiscent of her large-scale installations – that refer to liminality in all its manifold definitions. They are the space between the elements and the indoors\, the transition from architecture to art\, and a reconsideration of scale. Named after crystals\, they connote growth and change\, transformation\, topography and transmogrification. \n  \nUpstairs in the gallery’s rooftop space\, viewers arrive upon a larger rooftop pyramid outside on the terrace\, visible through a large picture window. However\, a handmade wall cuts the gallery space in two\, directing us away from the sculpture to an opening that allows access to the outside. It is there that viewers are confronted by the wall once again\, dividing the terrace itself. Light permeates the slats\, but the sculpture is unreachable. On closer inspection the rooftop is an eight-sided star\, a pattern from 19th-century quilting that represents the North Star – illumination\, direction\, freedom. That unattainable liberty in the form of a rooftop too small to live under creates an un-enterable shrine offering unusable asylum. \n  \n  \nHeather Hart (b. Seattle\, WA\, lives and works in Brooklyn\, NY) is an interdisciplinary artist exploring the power in thresholds\, questioning dominant narratives\, and creating alternatives to them. Hart’s work has been exhibited at the Queens Museum\, Storm King Art Center\, Albright-Knox Museum\, The Kohler Art Center\, NCMA\, Eastern Illinois University\, Seattle Art Museum\, Brooklyn Museum\, University of Buffalo\, and University of Toronto\, Scarborough among others. She was awarded grants from Anonymous Was A Woman\, the Graham Foundation\, Joan Mitchell Foundation\, and the Jerome Foundation\, NYFA\, and Harpo Foundation. Hart co-founded Black Lunch Table in 2005 and has won a Creative Capital award\, Wikimedia Foundation grants\, an Andrew W. Mellon Foundation grant and an Andy Warhol Foundation of Art grant with that project. Hart is an Assistant Professor at Mason Gross School for Art + Design\, a member of the Black Trustee Alliance for Art Museums\, an external advisor for AUC Art Collective\, and a trustee at Storm King Art Center. She studied at Skowhegan\, Whitney ISP\, Cornish College of the Arts\, Princeton University and received her MFA from Rutgers University. Hart was a 2021-2022 Fellow at the Radcliffe Institute for Advanced Study at Harvard University. This is her first exhibition with Davidson Gallery.
URL:https://artinamericaguide.com/event/heather-hart-she-cuts-through-worlds/
LOCATION:Davidson Gallery\, 521 West 26th Street\, New York\, NY\, 10001\, United States
CATEGORIES:Exhibition
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DTSTART;TZID=America/Halifax:20220908T080000
DTEND;TZID=America/Halifax:20221022T170000
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SUMMARY:Tiffany Chung Terra Rouge: Circles\, Traces of Time\, Rebellious Solitude &  Archaeology for Future Remembrance
DESCRIPTION:Davidson Gallery is honored to present two concurrent solo exhibitions by internationally acclaimed artist Tiffany Chung. The exhibitions will be featured on Davidson Gallery’s two floors and will continue Chung’s sociopolitical and environmental explorations into the lattice-work relationships between humankind\, the lived landscape\, and the natural world. Titled Terra Rouge: Circles\, Traces of Time\, Rebellious Solitude\, the first of the two shows features all new cartographic drawings and paintings on vellum. Terra Rouge focuses on the Bình Long–Phước Long plateau region (present day Bình Phước province) in southwest Việt Nam\, on the border with Cambodia. The history of the area is ramose: it was the site of some of the most violent fighting of the 1972 Easter Offensive during the Vietnam War\, it is where some of the first rubber plantations were built by French colonialists at the end of nineteenth century\, and is home to archaeological discoveries of Neolithic circular earthworks. It is these excavated sites\, dating from 2300-300 BCE\, that serve as the catalyst and subject matter for Chung’s new series\, creating a visual reference but also a mystery to be investigated. The civilization that existed there for nearly 2000 years was ultimately abandoned. Chung explores how the populace lived\, why they left\, and what could have happened if they had stayed.  \nIn a separate but connected exhibition\, the tenth-floor gallery will feature Archaeology for Future Remembrance\, an extant but continuous series of work that delves into Chung’s work around the Thủ Thiêm district of Sài G n (Ho Chi Minh City). Thủ Thiêm was a residential zone that was razed by the Vietnamese government beginning officially in 2002\, displacing tens of thousands of its denizens in favor of a sprawling master-planned urban development project. In an effort to preserve the memory of the original site and its people after a prolonged and violent eviction\, Chung excavated the site\, unearthing evidence of life: fragments of buildings\, shoes\, and household items. Additionally\, the artist has added her own drawings\, video\, and an accompanying series of twenty-six glass plates etched with text referencing the seemingly inexorability of progress and reclaiming land that is labeled “wasteland” all under the guise of colonialism and nation-building alike.  \nBoth exhibitions wrestle with notions of nation-building\, modernization\, and expansion as inevitable even as the concepts wholly ignore the personal and the historical. Set against the backdrop of the ever- changing skyline of New York City – itself reclaimed land – Archaeology for Future Remembrance argues that Vietnam’s treatment of its own people in Thủ Thiêm echoes the dehumanizing and marginalizing mindsets of its own colonial occupiers. Meanwhile\, the maps of circular earthworks in Terra Rouge: Circles\, Traces of Time\, Rebellious Solitude suggest a quieter but clearly legible look at how ancient communities may have suffered similar fates to modern ones\, positing possible reasons for abandoning the site while also scouring the evidence for possible ways to change our own mistakes while also avoiding the ones made over 2000 years ago. 
URL:https://artinamericaguide.com/event/tiffany-chung-terra-rouge-circles-traces-of-time-rebellious-solitude-archaeology-for-future-remembrance/
LOCATION:Davidson Gallery\, 521 West 26th Street\, New York\, NY\, 10001\, United States
CATEGORIES:Exhibition
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DTEND;TZID=America/Halifax:20220730T170000
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SUMMARY:Palma Blank Psychonautic Traces
DESCRIPTION:Davidson Gallery is pleased to present Psychonautic Traces\, a solo exhibition of new work by Palma Blank. The exhibition features Blank’s hard-edge\, optical paintings from various series within her practice. Like virtually all of Blank’s work\, they draw influence from the minimalist concepts and color theories of 1960s modernism\, along with the visual strategies and phenomenological ideas associated with Impressionism. The works intimate recognizable forms but even as shapes begin to appear\, they morph and shift. The feeling of cut-out space and void belies the additive nature of the paintings; Blank’s process includes repetitive networks and undulating matrices of smaller shapes to create vibrating layers that create a state of flux. \n  \nIt is that ever-changing status that draws the viewer into the paintings while also mining their own subconscious – the title of the show\, Psychonautic Traces\,  imagines a journey through one’s own mind\, or else finding remnant evidence of some such odyssey in the real world. Blank draws inspiration from visual moments in everyday life: “The way light radiates through a series of graffitied fences. The layered patterning of leaves when looking up from under a tree. Following the fluorescent orange mesh of a construction site as it wraps the skeleton of a new building. Contemplating the vastness of the universe while gazing into a clear night sky.” That sublime awareness of the connectivity of all things helps dictate the intense color relationships in Blank’s work\, as well as the ability to juxtapose depth and flatness\, illusion and objecthood\, minimalism and maximalism\, the handmade and the machined; the paintings emerge as charged futuristic spaces for experience and reflection. \n  \nPalma Blank (b. 1979  Norwalk\, CT)  received an MFA from Yale University\, New Haven\, CT\, and a BFA from Rhode Island School of Design\, Providence\, RI. Her work has been included in exhibitions throughout New York including The Hole\, a solo show at Horton Gallery\, and most recently Ninth Street Women: 70 Years of Women in Abstraction\, at Hunter Dunbar Projects. Her work has been acquired by the Louis Vuitton Foundation in Paris\, NY Presbyterian Hospital\, as well as many other international collections. She is on the board of directors at Black Ball Projects\, a non-profit arts organization supporting underexposed contemporary artists in New York City. Blank lives and works in Brooklyn\, NY.  This is her first show with Davidson Gallery. \n 
URL:https://artinamericaguide.com/event/palma-blank-psychonautic-traces/
LOCATION:Davidson Gallery\, 521 West 26th Street\, New York\, NY\, 10001\, United States
CATEGORIES:Exhibition
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SUMMARY:Marcus Vinícius De Paula - 'SUPERLUMINAL'
DESCRIPTION:Davidson Gallery is pleased to present SUPERLUMINAL\, the debut solo exhibition from Marcus Vinícius De Paula. \nThe exhibition features sculptures made over the last two years and is an apex for the multidisciplinary artist with a career surrounding light. The works draw inspiration from his father\, a Brazil-born NASA engineer\, and examine relative notions of time across our lives\, source materials\, and the cosmos. \nNaming his pieces after the moons of Saturn\, De Paula explores an alternate reality in which the works are the only remnants of a lost world. The forms are at once alien yet familiar\, intimating known objects but wholly unique unto themselves; their titles approximate places of origin as much as aspirational destinations. De Paula uses this narrative to engender a discussion of humanity’s fragility and legacy. The COVID-19 pandemic is an inescapable context for the creation of these works – some pieces were created while the artist and his wife lived nomadically over the last year in remote locations across the United States. \nThe use of volcanic rock\, granite\, and alabaster\, some as old as one billion years\, also forces an acknowledgment of the age and longevity of these materials in perspective with humans’ time on earth. The seemingly interminable length of the recent past is given context in how De Paula combines the ancient and the timeless; the technologically advanced LED lights and hand-blown neon gas tubes meld seamlessly with stone as though they were formed simultaneously and not manipulated by the artist’s hand and mind. \nWithin these materials\, Marcus embeds lines of light throughout to cast an ethereal otherworldliness. As with the stone\, he handcrafts these elements himself from neon glass and resin\, which illuminate the minerality within the stones as swirls of interstellar matter. By contrasting classical stones with charged noble gasses and brutalist cyberpunk aesthetic\, the monumental works begin to transcend terrestrial notions of time. \nDe Paula considers his works maquettes unlimited in their potential scale\, informed by the soaring Brutalist and Modernist structures of his parents’ native Brazil. As a teen visiting his grandparents\, Marcus would ride the bus for hours around Rio De Janeiro to absorb the city’s visual culture\, supplementing his parents’ shared memories with sensory immersion. By incorporating those experiences into his practice\, De Paula navigates his evolving relationship with that heritage. \nMarcus Vinícius De Paula is a Brazilian-American multidisciplinary artist born in 1986 in California. He has designed with light for over 15 years across theater\, film\, and live performance. He has led creative direction and design for interactive installations at South by Southwest\, on tour with indie-rock band Ra Ra Riot\, and for multiple productions at the Edinburgh International Fringe Festival. De Paula’s sculptures have most recently been exhibited in Radiator Show (2020)\, Day Marks (2020)\, and Current (2021). This is his first solo exhibition in New York. De Paula lives and works in Brooklyn. \nDe Paula’s was recently mentioned in Surface Mag\, \n“At the onset of the pandemic\, Marcus de Paula (@marcusv_depaula) embarked on a cross-country road trip with his wife in order to radically reimagine his functional art practice\, in which he melds ethereal neon tubes within stone monoliths reminiscent of the Brutalist architecture found throughout his native Brazil. \nHe continues his creative spree with a series of luminaires—inspired by his NASA engineer father and named after the moons of Saturn—that meld charged noble gasses with cyberpunk aesthetics to transcend terrestrial notions of time. At once alien and familiar\, they plumb an alternate reality in which they’re the only remnants of a lost world\, speaking to humanity’s fragility and legacy. Find the works in the exhibition “Superluminal\,” on show at New York’s @davidsongallery through June 11.” (SURFACE MAG)
URL:https://artinamericaguide.com/event/marcus-vinicius-de-paula-superluminal/
LOCATION:Davidson Gallery\, 521 West 26th Street\, New York\, NY\, 10001\, United States
CATEGORIES:Exhibition
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SUMMARY:Pedro S. de Movellán ‘PARALLAX’
DESCRIPTION:Davidson Gallery presents Parallax\, a solo exhibition of new kinetic sculpture by artist Pedro S. DeMovellan. The main body of work in Parallax is seven outdoor sculptures ranging in height from seven feet to over eleven feet. It is the first time in his career that De Movellán has dedicated so much of his practice to so many large-scale works. All seven outdoor pieces\, as well as several smaller indoor sculptures and working maquettes\, are featured on Davidson Gallery’s two outdoor sculpture terraces and light-filled top floor gallery.\nLike nearly all of De Movellán’s work\, the sculptures in Parallax rely on wind to drive their carefully calibrated\, meticulously balanced elements. Whether a few inches tall\, or several feet\, De Movellán’s ability to define motion and air currents is singular. This  exhibition\, Parallax\, draws its title from a visual phenomenon where the same object seen from  two different viewpoints appears to be moving differently or have an altered position. The term is frequently used in astronomy to account for the change in apparent position of celestial bodies depending on the viewers’ standpoints.\nIn this case\, De Movellán has co-opted the term to address the mutability and flux that exists in all his work. Though each piece is unique and a standalone sculpture\, the movement inherent in each means that they are virtually never the same work depending on where and when they are viewed. The works’ constant changing state – and the viewer’s own relative position to them – introduce a variability not seen in static works of art. In Parallax\, as in all of De Movellán’s practice\, the work is always new.
URL:https://artinamericaguide.com/event/pedro-s-de-movellan-parallax/
LOCATION:Davidson Gallery\, 521 West 26th Street\, New York\, NY\, 10001\, United States
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DTSTART;TZID=America/Halifax:20220505T080000
DTEND;TZID=America/Halifax:20220505T170000
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SUMMARY:Pedro S. de Movellán ‘PARALLAX’
DESCRIPTION:Davidson Gallery presents Parallax\, a solo exhibition of new kinetic sculpture by artist Pedro S. DeMovellan. The main body of work in Parallax is seven outdoor sculptures ranging in height from seven feet to over eleven feet. It is the first time in his career that De Movellán has dedicated so much of his practice to so many large-scale works. All seven outdoor pieces\, as well as several smaller indoor sculptures and working maquettes\, are featured on Davidson Gallery’s two outdoor sculpture terraces and light-filled top floor gallery.\nLike nearly all of De Movellán’s work\, the sculptures in Parallax rely on wind to drive their carefully calibrated\, meticulously balanced elements. Whether a few inches tall\, or several feet\, De Movellán’s ability to define motion and air currents is singular. This  exhibition\, Parallax\, draws its title from a visual phenomenon where the same object seen from  two different viewpoints appears to be moving differently or have an altered position. The term is frequently used in astronomy to account for the change in apparent position of celestial bodies depending on the viewers’ standpoints.\nIn this case\, De Movellán has co-opted the term to address the mutability and flux that exists in all his work. Though each piece is unique and a standalone sculpture\, the movement inherent in each means that they are virtually never the same work depending on where and when they are viewed. The works’ constant changing state – and the viewer’s own relative position to them – introduce a variability not seen in static works of art. In Parallax\, as in all of De Movellán’s practice\, the work is always new.
URL:https://artinamericaguide.com/event/pedro-s-de-movellan-parallax-2/
LOCATION:Davidson Gallery\, 521 West 26th Street\, New York\, NY\, 10001\, United States
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DTEND;TZID=America/Halifax:20220430T170000
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SUMMARY:NATHAN NG CATLIN: What Goes on Behind a Windowpane
DESCRIPTION:Davidson Gallery presents What Goes on Behind a Windowpane\, an exhibition of new work by Nathan Ng Catlin. The work in the exhibition includes painting\, ceramic\, stained glass\, and found objects\, each indicative of Catlin’s signature clear line style and his ability to work in virtually any medium. The title of the exhibition and many of the works in it are taken from the Charles Baudelaire poem “Windows” but references the artist’s – and every person’s – experience over the past two years. Windows appear in nearly every work\, creating physical and visual thresholds through which people see and are seen\, creating a voyeuristic effect as the subjects do not know they are being watched. Like many artists\, Catlin spent the majority of the pandemic working in his studio or sitting at home\, looking out the window at a world that seemed to stand still\, even as the inexorable march of time and nature continued to run their course. The stained glass is most obviously associated with church windows\, which Catlin subverts to make profane the normally sacred narrative that they impart\, while also sanctifying the interiority that we were all forced to experience. \nWhile uncertainty reigned so too did civil and social unrest\, creating a metaphysical window through which we viewed the world\, and saw ourselves as though in partial reflection. Catlin’s work always maintains a certain degree of allegorical mystery. Each image is a frozen snapshot that exists in a moment just before or after a significant event\, following a narrative known in full only to the artist\, but understandable to all as part of the human condition. The sense of being watched by unseen eyes\, the inherent eeriness of being alone in the woods\, or even the way we distract ourselves from the real-world events going on just outside. As Beaudelaire wrote in “Windows”\, “What we can see in daylight is always less interesting than what happens behind a windowpane\,” Catlin captures this emotion as he deftly transitions between different mediums and scale to achieve a singular new series.\nNathan Ng Catlin is a multi-disciplinary artist who lives and works in Brooklyn\, NY. As a mixed-race first-generation Asian American from southern California\, Catlin is interested in the complex narratives that arise from distinctions (culture\, views on morality\, etc.) that bring people together and separate them. His work is representational and figurative\, featuring human interactions that draw inspiration from classical paintings\, comic books\, and tattoos. Catlin received his BFA in printmaking from the San Francisco Art Institute in 2007 and his MFA from Columbia University in 2012. He works in multiple mediums including printmaking\, painting\, ceramics\, stained glass\, and mosaic. This is his second solo exhibition with Davidson Gallery. \n\nImage caption:\nNathan Ng Catlin\, TO FEEL THE VERY NATURE OF THE CREATURE THAT I AM\, 2022\, Acrylic on panel with stained glass and lights\, 49 1/2 x 37 1/2 in.\n© Nathan Ng Catlin\nCourtesy of Davidson Gallery
URL:https://artinamericaguide.com/event/nathan-ng-catlin-what-goes-on-behind-a-windowpane/
LOCATION:Davidson Gallery\, 521 West 26th Street\, New York\, NY\, 10001\, United States
CATEGORIES:Exhibition
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DTEND;TZID=America/Halifax:20220108T170000
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SUMMARY:BOO SAVILLE: The Smoke Detector and the Watchtower 
DESCRIPTION:BOO SAVILLE: The Smoke Detector and the Watchtower \nNovember 11\, 2021 – January 8\, 2022 \nDavidson Gallery proudly presents The Smoke Detector and the Watchtower\, an exhibition of new paintings by Boo Saville. The exhibition features 15 new color field and dichromatic figurative works by Saville painted over the last year and a half. The show title is taken from the book The Body Keeps the Score\, by Dr. Bessel Van der Kolk\, a psychiatrist and leading scholar and researcher of post-traumatic stress and its effects. Saville read Van der Kolk’s book during the lockdown in the UK and was drawn to the ways in which the book explores how traumatic events and experiences change the way people perceive the world.\nVan der Kolk uses the terms ‘smoke detector’ and ‘watchtower’ to refer to two parts of the human brain\, the amygdala and the prefrontal cortex\, respectively. The amygdala controls some of our primitive impulses – intuition\, fear\, and sensation. The prefrontal cortex determines our reactions to our environments. These separate but connected systems serve as the starting point for Saville’s two divergent series of paintings that exist in the same body of work: expansive color fields and figurative or descriptive monochromatic paintings. For Saville\, the works are deeply personal; the artist remembers dreaming exclusively in black and white as a child\, for instance. Thus\, the figurative works take on a somewhat surreal quality of that liminal state\, bordering on photorealist but being devoid of color. Meanwhile\, the abstracts are pure emotion\, stemming from the subconscious and filled with Saville’s own experiences ranging from joy to personal loss. \nSaville has arranged the work into three areas: Time\, Metaphor\, and Moons. This method is a useful way to catalog and categorize different areas of painting but also addresses the invisible forces that shift and direct the world around us. She has added frames to some of the works which serve to represent the reduced boundaries of our lives during lockdown\, the seemingly ever-present frame around our computer screens\, and even the encasing of our skull around our brain housing the cognitive systems that experience the changing world. \nBoo Saville (British\, b.1980) graduated from the Slade School of Fine Art\, London\, in 2004. Saville’s solo exhibitions includeChimera\, Davidson Gallery\, New York (2017)\,Polycephaly\, TJ Boulting\, London (2014)\, Idolum\, Studio Giangaleazzo Visconti\, Milan (2010)\, and Laid Bare\, Martin Summers Fine Art\, London (2008). Saville was a nominee for the Sovereign Painting Prize in both 2007 and 2011\, and in 2008\, she worked on a residency at the Cité Internationale des Arts\, Paris\, and was included in the group exhibition True Colours at Newport Street Gallery in London. Saville’s work has been acquired by collections including the Museum of New and Old Art\, Tasmania; Wadsworth Atheneum Museum of Art; Murderme; Soho House; and Collezione Maramotti. She is featured in Francesca Gavin’s books Hell Bound: New Gothic Art(2008)\,100 New Artists(2011)\, and50Contemporary Women Artists(2018). Saville lives and works in Margate\, England; this is her second solo exhibition at Davidson Gallery.
URL:https://artinamericaguide.com/event/boo-saville-the-smoke-detector-and-the-watchtower/
LOCATION:Davidson Gallery\, 521 West 26th Street\, New York\, NY\, 10001\, United States
CATEGORIES:Exhibition
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DTEND;VALUE=DATE:20210711
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SUMMARY:GLENDALYS MEDINA: Gratitudes
DESCRIPTION:“In 2020\, as the pandemic gripped the world and our lives went on pause\, I found myself in a hopeless state. After about a week in bed\, I asked my mother to borrow her dog to motivate me to get up and care for something outside of myself. I gave myself a drawing exercise on our 15-minute walks; to find something to be grateful for\, to appreciate the ability to see and cultivate an attitude of gratitude. After taking minutes to observe an item or experience\, I would come up to my studio and put the color down as a document of that moment. Those moments created this series of color studies. To this day\, when I am feeling down\, I go out and enact the same exercise.” –  Glendalys Medina\, 2021 \nGlendalys Medina is a Nuyorican conceptual interdisciplinary visual artist who was born in Puerto Rico and raised in the Bronx. Medina received an MFA from Hunter College and has presented artwork at such notable venues as PAMM\, Participant Inc.\, BRIC\, Performa 19\, Artists Space\, The Bronx Museum of Art\, El Museo del Barrio\, The Museum of Contemporary Art in Vigo\, Spain\, and The Studio Museum in Harlem among others. Medina was a recipient of a Pollock- Krasner Foundation Grant (2020)\, a Jerome Hill Foundation Fellowship (2019)\, an Ace Hotel New York City Artist Residency (2017)\, a SIP fellowship at EFA Robert Blackburn Printmaking Workshop (2016)\, a BACK IN FIVE MINUTES artist residency at El Museo Del Barrio (2015)\, a residency at Yaddo (2014\, 2018)\, the Rome Prize in Visual Arts (2013)\, a New York Foundation for the Arts Fellowship in Interdisciplinary Art (2012)\, and the Bronx Museum Artist in the Marketplace residency (2010). Medina is currently a professor at SVA’s MFA Art Practice program and lives and works in New York. \nOpen by appointment only\, schedule an appointment by sending an email to BL@davidsongallery.com or by calling (212) 759-7555. \n\nImage:\n© Glendalys Medina\nGratitudes\nCourtesy of Davidson Gallery
URL:https://artinamericaguide.com/event/glendalys-medina-gratitudes/
LOCATION:Davidson Gallery\, 521 West 26th Street\, New York\, NY\, 10001\, United States
CATEGORIES:Exhibition
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DTEND;VALUE=DATE:20210426
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SUMMARY:Hope Springs Eternal
DESCRIPTION:Davidson Gallery presents a group exhibition curated by Natasha Schlesinger.\nAs the English poet Alexander Pope wrote in the 18 th century\, “Hope springs eternal in the human breast”. When turmoil rages on multiple levels all around us\, it is hope that gives us the strength to go on and look forward to the future. Spring brings regeneration and renewal\, so we turn to the future and see the light at the end of the proverbial tunnel. The human need to create and the human ability to appreciate art connect us to boundless possibilities and potential for something better\, for something more. The artists in this exhibition use their preferred mediums to express abstract concepts such as hope\, longing\, spiritual renewal\, and human potential for love in their works. We\, as viewers\, connect to these concepts through their works and experience a re-awakening of our senses and a renewal of hope for the future. \nNicky Broekhuysen works with binary code to conceive and physically create her works. Binary code is a language designed for information exchange – we use it daily for virtually every task imaginable; it surrounds us in Bluetooth and Wi-Fi signals – and yet it is essentially illegible to humans. Broekhuysen uses that contradiction as part of her work. The works in this exhibition transcend both a recognizable language and geometry of form to elicit a spontaneous response from the viewer. They seem to give off a pulsating positive energy that excites our senses. \nPedro S. de Movellàn is one of the best and most accomplished contemporary kinetic sculptors.  His work activates color and space\, moved or energized by the natural air currents and often taking into account nature\, the landscape or the interior architecture. They are inherently curious\, exciting and joyful to look at and experience. \nAngela Heisch references nature\, biomorphic forms\, and the viewer’s emotive response to color in her paintings and works on paper. Sometimes her paintings evoke a landscape or elements of flora\, and other times we might be seeing the rounded forms of a female body. The geometry of her compositions is not static but undulates and moves in space\, taking us on a dynamic and exciting visual journey. \nSam Messenger’s earlier mathematically oriented and laboriously drawn monochromatic works on paper have led to strong abstract paintings that translate color and gesture into bold compositions invoking a sublime experience of both creation and visual perception of the work. \nBoo Saville’s hypnotic\, abstract paintings render color and light as sublime moments in time\, capturing a landscape or a view of water with up to 40 layers of paint seamlessly and flawlessly applied with no perceptible brushstroke. Saville comments that “colour fields are about the depth and vault of emotion and memory layered on top of each other.” \nThomas Witte cuts paper as though he is drawing in space\, ingeniously interpreting found vintage photographic imagery into dimensional\, cut-out scenes. The works included in the current exhibition invite us to travel in time and space to unknown destinations where time stands still\, liberating us from more quotidian concerns \nHope Springs Eternal is curated by Natasha Schlesinger. Visits are available by appointment by contacting the gallery at 212-759-7555 or info@davidsongallery.com \n\nImage:\nAngela Heisch\nSplit Open\, 2021\nPastel on paper\n9 x 12 inches
URL:https://artinamericaguide.com/event/hope-springs-eternal/
LOCATION:Davidson Gallery\, 521 West 26th Street\, New York\, NY\, 10001\, United States
CATEGORIES:Exhibition
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