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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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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
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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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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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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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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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DTSTART;VALUE=DATE:20210513
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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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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