BEGIN:VCALENDAR
VERSION:2.0
PRODID:-//Art in America Guide - ECPv6.7.0//NONSGML v1.0//EN
CALSCALE:GREGORIAN
METHOD:PUBLISH
X-WR-CALNAME:Art in America Guide
X-ORIGINAL-URL:https://artinamericaguide.com
X-WR-CALDESC:Events for Art in America Guide
REFRESH-INTERVAL;VALUE=DURATION:PT1H
X-Robots-Tag:noindex
X-PUBLISHED-TTL:PT1H
BEGIN:VTIMEZONE
TZID:America/Halifax
BEGIN:DAYLIGHT
TZOFFSETFROM:-0400
TZOFFSETTO:-0300
TZNAME:ADT
DTSTART:20200308T060000
END:DAYLIGHT
BEGIN:STANDARD
TZOFFSETFROM:-0300
TZOFFSETTO:-0400
TZNAME:AST
DTSTART:20201101T050000
END:STANDARD
BEGIN:DAYLIGHT
TZOFFSETFROM:-0400
TZOFFSETTO:-0300
TZNAME:ADT
DTSTART:20210314T060000
END:DAYLIGHT
BEGIN:STANDARD
TZOFFSETFROM:-0300
TZOFFSETTO:-0400
TZNAME:AST
DTSTART:20211107T050000
END:STANDARD
BEGIN:DAYLIGHT
TZOFFSETFROM:-0400
TZOFFSETTO:-0300
TZNAME:ADT
DTSTART:20220313T060000
END:DAYLIGHT
BEGIN:STANDARD
TZOFFSETFROM:-0300
TZOFFSETTO:-0400
TZNAME:AST
DTSTART:20221106T050000
END:STANDARD
TZID:America/New_York
BEGIN:DAYLIGHT
TZOFFSETFROM:-0500
TZOFFSETTO:-0400
TZNAME:EDT
DTSTART:20210314T070000
END:DAYLIGHT
BEGIN:STANDARD
TZOFFSETFROM:-0400
TZOFFSETTO:-0500
TZNAME:EST
DTSTART:20211107T060000
END:STANDARD
TZID:America/New_York
BEGIN:DAYLIGHT
TZOFFSETFROM:-0500
TZOFFSETTO:-0400
TZNAME:EDT
DTSTART:20210314T070000
END:DAYLIGHT
BEGIN:STANDARD
TZOFFSETFROM:-0400
TZOFFSETTO:-0500
TZNAME:EST
DTSTART:20211107T060000
END:STANDARD
END:VTIMEZONE
BEGIN:VEVENT
DTSTART;TZID=America/Halifax:20211208T100000
DTEND;TZID=America/Halifax:20220122T180000
DTSTAMP:20260503T205309
CREATED:20211208T203301Z
LAST-MODIFIED:20211208T203332Z
UID:90517-1638957600-1642874400@artinamericaguide.com
SUMMARY:Julie Green | At Home with Family
DESCRIPTION:Who did you eat with? What did you have? Julie Green’s latest series asks these questions—quite literally—with their matter-of-fact cast belying the significance of the answers Green renders in vibrant acrylic on Tyvek. For the past three years\, Green had been asking wrongfully convicted persons about their “first meals” upon their release from prison\, painting their responses for her series by the same name. From December  8\, 2021 to January 22\, 2022\, 13 of the 30 paintings Green had completed at her death this past October are on view in At Home with Family\, marking Elizabeth Houston Gallery’s 50th exhibition.\n\nImage: Julie Green\, Blind Faith for Juan Rivera\, ca. 2019\, Acrylic on Tyvek\, silk and glow-in-the dark thread\, portion of Illinois state flag\, acrylic and watercolor on found butterfly sampler\, Copic marker\, turmeric-dyed silk\, and garam marsala\, 44 × 41 inches
URL:https://artinamericaguide.com/event/julie-green-at-home-with-family/
LOCATION:Elizabeth Houston Gallery\, 190 Orchard Street\, NEW YORK\, NY\, 10002\, United States
CATEGORIES:Exhibition
ATTACH;FMTTYPE=image/jpeg:https://artinamericaguide.com/wp-content/uploads/2021/12/Green-Julie-BlindFaithforJuanRivera.jpg
GEO:40.7220866;-73.9879939
X-APPLE-STRUCTURED-LOCATION;VALUE=URI;X-ADDRESS=Elizabeth Houston Gallery 190 Orchard Street NEW YORK NY 10002 United States;X-APPLE-RADIUS=500;X-TITLE=190 Orchard Street:geo:-73.9879939,40.7220866
END:VEVENT
BEGIN:VEVENT
DTSTART;VALUE=DATE:20210922
DTEND;VALUE=DATE:20211114
DTSTAMP:20260503T205309
CREATED:20210917T211102Z
LAST-MODIFIED:20210917T211102Z
UID:88263-1632268800-1636847999@artinamericaguide.com
SUMMARY:Katinka Lampe: Bubble
DESCRIPTION:Katinka Lampe has long shaped her portraits in the interstices between figuration and abstraction. Bypassing depiction\, Lampe imbues her work with hints of broader societal motifs\, leaving subtle signs for the viewer to follow into a deeper look. Her most recent series Bubble\, on view at Elizabeth Houston Gallery from September 22 to November 13\, 2021\, is a true sign of the times. \nMade in 2020\, Lampe’s paintings echo with concerns and considerations endemic to the year of their production. Working in confinement during a global pandemic\, her private experiences had become universal ones\, but in the most unusual of ways. Quarantine had thrust so many into private worlds of their own\, the world over. The space of the home suddenly became the bubble separating us from others\, and from other viewpoints. Like internet activist Eli Pariser’s concept of the “filter bubble\,” our individual informational spheres carved out by invisible algorithmic editing of the web\, the “home bubble” had narrowed our experiences to the familiar. But for Lampe\, reworking the stillness of that space into a creative focus had become her novel distraction from the otherwise unchanging progression of days. \nHer paintings are portraits of the solitude of 2020. In each\, we are at pains to say where her depiction ends and impressions begin. Veiling her models\, Lampe obscures their faces\, revealing only a sliver of a profile turned away from the viewer in some instances. Colored layers that bisect her portraits and cut her canvases into sections preclude any overly literal associations. Other faces press against the edges of the frame\, refusing eye contact\, or hide themselves from our gaze behind their hands\, blankets\, or clothing. One wears a balaclava. \nLampe’s work is more a study of alienation and silence than it is a representation of others. In keeping with that emotional undercurrent\, she has restrained her palette. In muted gray tones or pitch black\, Lampe explores the absence of light falling on features. She has honed in on the details in this series\, and yet her portraits are not of anyone or even anything in particular. One imagines that some of her figures might be found lingering in the background of old master paintings. There is no one taking center stage here. The bubble itself makes an appearance\, metaphorically\, of course\, and literally\, too\, in the form of chewing gum. A rosy pink orb conceals her models’ faces. Casting their glances downward toward it\, they look more bored than satisfied\, more absent than present. \nIn Bubble\, Lampe has painted her experience of the pandemic\, oscillating between seeking and denying\, between presence and absence. And yet\, as is her custom\, she has removed herself as much as possible from her work. This series is unique in that we—in our separate but similar bubbles—are there in the paintings\, and removed from them\, too. \n– Robyn Day \nRobyn Day is a Chicago-based photographer and freelance writer for Photograph Magazine. She previously wrote art criticism for WBUR\, Boston’s NPR news station\, and Art New England. \nKatinka Lampe is an artist based out of The Netherlands. She received her degree from the Academy of Art and Design in Hertogenbosch\, Netherlands. Her work has been widely exhibited internationally in a variety of galleries\, museums\, and prominent art fairs such as Museum Van Loon\, Amsterdam Netherlands; Arnhems Museum\, Arnhem\, the Netherlands; Arco\, Madrid\, Spain; FIAC Paris\, France; Untitled Miami Beach and Untitled San Francisco. Her work is included in the collections of Museum 21C\, United States; West Sun Capital Collection\, Montreal\, Canada; APMA\, AmorePacific Museum of Art Seoul\, Korea; Salon Dahlmann\, Berlin; C.N.A.P Centre National des Arts Plastique\, Paris\, France; Art Curial\, Paris\, France; Frisseras Museum Athens\, Greece. In The Netherlands: AKZONobel Art Foundation\, Amsterdam; Museum Arnhem\, Arnhem; ASR Collections\, Utrecht; ING Collection\, Amsterdam; Museum van Loon\, Amsterdam; Museum More\, Gorssel; Schunck*\, Heerlen; De Nederlandsche Bank\, Amsterdam; Menzis Art collection\, Wageningen; AEGON Art collection\, The Hague; Achmea Art collection\, Leiden; APG Pensioenfonds\, Amsterdam; Bouwfonds\, Hoevelaken; Collection De Heus\, Barneveld; Collection Van Dam\, Wassenaar; Hugo Carla Brown Collection\, The Hague; collection Sanders\, Aerdenhout; Collection Princen\, Rotterdam; and Powerhouse-Company\, Rotterdam. Lampe’s work has been featured in various international newspapers and numerous publications including ArtTravel Magazine\, Art-Es\, ELLE Décor\, and Public Art Magazine\, among others. \n  \nFor further inquiries regarding this exhibition\, please email info@elizabethhoustongallery.comwww.elizabethhoustongallery.com 646.918.6462190 Orchard St\, New York\, NY 10002
URL:https://artinamericaguide.com/event/katinka-lampe-bubble/
LOCATION:Elizabeth Houston Gallery\, 190 Orchard Street\, NEW YORK\, NY\, 10002\, United States
CATEGORIES:Exhibition
ATTACH;FMTTYPE=image/jpeg:https://artinamericaguide.com/wp-content/uploads/2021/09/4050211.jpg
ORGANIZER;CN="Elizabeth Houston Gallery":MAILTO:info@elizabethhpustongallery.com
GEO:40.7220866;-73.9879939
X-APPLE-STRUCTURED-LOCATION;VALUE=URI;X-ADDRESS=Elizabeth Houston Gallery 190 Orchard Street NEW YORK NY 10002 United States;X-APPLE-RADIUS=500;X-TITLE=190 Orchard Street:geo:-73.9879939,40.7220866
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/New_York:20210729T180000
DTEND;TZID=America/New_York:20210729T200000
DTSTAMP:20260503T205309
CREATED:20210727T212052Z
LAST-MODIFIED:20210727T212052Z
UID:83395-1627581600-1627588800@artinamericaguide.com
SUMMARY:Daniela Edburg: Waning
DESCRIPTION:Daniela Edburg\nWaning\nJuly 21 – September 11\, 2021 \nOn view at Elizabeth Houston Gallery from July 21 to September 11\, Daniela Edburg: Waning is an aesthetic exercise in free association\, one that draws to the surface of consciousness the delicate symbiosis between human and glacial bodies. Following a thread of thought from her own autoimmune disease to the perils of climate change\, Edburg reimagines—in photographic form and felted wool—the tale of Frankenstein as a parable for global warming. \nEdburg has long worked in the in-betweens of reality and imagination\, crocheting and knitting objects into her compositions as a kind of hand-made fiction. She is most interested in those artistic places where opposites meet and concepts contradict themselves\, where the disconnection imposed by bodily illness is overcome by the connections of human creativity. When the summer of 2016 dealt Edburg an unexpected three-month convalescence in bed\, recovering from an affliction that left her feeling every inch of her body as a living bruise\, she turned—perhaps empathetically—to Mary Shelley’s 1818 novel Frankenstein. The glacial landscape that set the stage for Shelley’s drama drew her attention. \nNavigating her own recovering body\, Edburg planned a voyage to Mer de Glace\, the “sea of ice” in the Alps where Dr. Frankenstein expresses his only moments of joy. But what Shelley’s protagonist describes as a scene of “sublime ecstasy that gave wings to the soul\,” Edburg found gravely imperiled. Climate change is melting the largest glacier in France at an alarming rate. For Edburg\, Frankenstein’s abandonment of his creature parallels our lack of stewardship of nature. The consequences of our apathy are the global warming that endangers our lives and the environmental degradation that causes illness. \nWith Shelley’s tale as an unconscious guide\, Edburg has captured the likenesses of those glaciers in felt\, preserving them in sculptural cedarwood boxes like rare and tiny specimens. The waning of the icebergs\, recast by the artist in dripping felted wool\, serves as a warning of impending environmental catastrophe. In photographic form\, human bodies afflicted with autoimmune diseases mimic the scattered disorder of the remaining ice. In other images\, we hold in our hands (or hairdos) the effects of climate change—volatile weather patterns that generate tornadoes and other superstorms with increased frequency. \nBut Edburg is also\, in some sense\, a Romantic at heart\, albeit one with Gothic leanings. Her Wanderers stare into the expanses of the natural world\, recalling Caspar David Friedrich’s 1818 Wanderer above the Sea of Fog\, a painting that has oftentimes served as a cover for Shelley’s novel. But where Friedrich’s landscape is a moment of sublimity revealing our place in nature\, both insignificant and transcendent at once\, Edburg’s photographs reflect the diminishment of the glaciers through our own doing. \nIn Waning\, our relation to the natural world is one that is deeply interconnected\, bodily\, emotionally\, mentally and spiritually. Like Frankenstein and his creature\, we are locked in a cycle of mutual creation and destruction. We cannot stand apart. \nDaniela Edburg attended the National Autonomous University of Mexico (UNAM) where she earned her Bachelor’s degree from the School of Visual Arts. Edburg was born in 1975 in Houston\, Texas and currently lives and works in San Miguel de Allende\, Mexico. Solo and group exhibitions include Musée du Quai Branly\, Paris\, France\, Photographic Centre Manuel Álvarez Bravo\, Oaxaca City\, Mexcio\, San Diego Museum of Photographic Arts\, CA\, Contemporary Musuem of Art\, Ivanova\, Russia and The Denver Art Museum\, CO. Her work can be found in the collections of the Museet Astrup Fearnley\, Oslo\, Norway\, Museum of Fine Arts\, Boston\, MA\, Art Museum of the Americas\, Washington DC\, Museo Universitario del Chopo\, México DF\, Mexico\, and the Museum of Latin American Art\, Long Beach\, CA. A 2018-2020 Fellowship recipient in the National System of Creators\, FONCA\, National Fund for the Arts and Culture of Mexico\, Daniela was also a 2016 Hamilton Artist at the Denver Art Museum and the University of Denver\, a 2013 Laureate of the Photoquai Residencies by the Musée du Quai Branly in Paris\, France\, was a 2012 resident artist with FONCA CONACULTA in collaboration with the Banff Centre\, Alberta\, Canada\, named Best Foreign Artist in the Photography category by Premio Arte Laguna\, Venezia\, Italia in 2010 and received a 2004 Creation Stimuli Grant from Guanajuato State Institute of Culture\, Mexico.
URL:https://artinamericaguide.com/event/daniela-edburg-waning/
LOCATION:Elizabeth Houston Gallery\, 190 Orchard Street\, NEW YORK\, NY\, 10002\, United States
CATEGORIES:Event,Exhibition
ATTACH;FMTTYPE=image/jpeg:https://artinamericaguide.com/wp-content/uploads/2021/07/Edburg-Daniela-Grinnell-and-Salamander-Glaciers.jpg
ORGANIZER;CN="Elizabeth Houston Gallery":MAILTO:info@elizabethhpustongallery.com
GEO:40.7220866;-73.9879939
X-APPLE-STRUCTURED-LOCATION;VALUE=URI;X-ADDRESS=Elizabeth Houston Gallery 190 Orchard Street NEW YORK NY 10002 United States;X-APPLE-RADIUS=500;X-TITLE=190 Orchard Street:geo:-73.9879939,40.7220866
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/New_York:20210626T180000
DTEND;TZID=America/New_York:20210626T200000
DTSTAMP:20260503T205309
CREATED:20210409T133747Z
LAST-MODIFIED:20210618T193422Z
UID:80699-1624730400-1624737600@artinamericaguide.com
SUMMARY:Robyn Day: Nobody Knows Exhibition Opening
DESCRIPTION:Tell all the truth but tell it slant — \nSuccess in Circuit lies \nToo bright for our infirm Delight \nThe Truth’s superb surprise \nAs Lightning to the Children eased \nWith explanation kind \nThe Truth must dazzle gradually \nOr every man be blind — \n– Emily Dickinson \nOn view at Elizabeth Houston Gallery from April 28 to July 9\, Nobody Knows promises to “tell all the truth but tell it slant.” Representing queer history by intentionally obfuscating it\, Robyn Day’s paradoxical archive plays with the materiality of photographic substrates\, deeply wedding process to the significations of its portraits. \nWith no officially sanctioned narratives of its own\, LGBTQ histories are carefully pieced together through acts of rediscovery\, reassembling\, and reinterpretation\, often from the annals of legal or medical proceedings that speak with a pathological cast. Day transforms that fundamental method of piecemeal recovery into an artistic process\, using materials and their physical “memory” as metaphors for the “love that dare not speak its name” throughout history. Layering\, scraping\, scratching\, and crinkling photographs\, and transforming their surfaces with ink\, charcoal\, pigments\, or even boiling water and ice\, Day reworks images as they develop and after\, moving seamlessly between analog and digital alterations. The cumulative effects of this slow process of development are a kind of theater of inscrutability. It is no longer possible to discern how each photograph was made\, nor how many times or by what means transfigured. \nIn this way\, Nobody Knows mimics the ambiguities of queer history through a performance of process. Masquerading as an unearthed archive\, Day’s series of portraits\, ironically\, faithfully and freely represents queer identity on its own terms. With the act of inventing an archive paralleling queer performativity\, Nobody Knows renders the presence of its subjects–long denied or hidden from view in historical records–through an intentional evasion of strict documentation. Instead\, the experimentation of material processes surpasses the aesthetic of salvaged evidence of the past\, and becomes a chrysalis for identity. Just as their photographic substrates are reassembled and transformed\, layered and reworked\, so too are the people within the portraits\, who carve space for themselves and their communities in times and places that are not always welcoming\, asserting their personhood with grace and poise. \nDay’s artistic process reflects the artist’s subject matter\, with a performance of the archive–one that creates rather than tracks the “truth”–echoing the performative of gender expression for the camera. Combining found images with contemporary portraits\, Day makes each anachronistic in its own way\, removing Polaroid emulsion from its casing or rephotographing prints underwater. The sum of these acts of conceptual experimentation is a body of political portraiture that needles at heteronormative and gender-normative assumptions. \nWith compositional layering a metaphor for identity\, Nobody Knows becomes a paradox of representation\, one that freely represents the beauty and presence of each person pictured through its experimental approach to conveying the failed representation of queer lives throughout history. \nRobyn Day graduated with an MFA from Columbia College Chicago in 2017\, receiving the Graduate Merit Award. Day currently lives and works in Chicago\, IL. Solo and group exhibitions include Elizabeth Houston Gallery\, New York\, NY\, Cornel Henry Art\, San Diego\, CA\, Plummer Park Great Hall\, West Hollywood\, CA\, ILHAM Gallery\, Kuala Lumpur\, Malaysia\, Berlin Blue Art\, Berlin\, Germany\, The Mint Museum\, Charlotte\, NC\, Toshima Center Square\, Tokyo\, JP\, Panopticon Gallery\, Boston\, MA\, Nappe Arsenale Nord\, Venice\, IT\, Arc Gallery\, San Francisco\, CA\, Schneider Art Gallery\, Chicago\, IL\, Hannah Bacol Busch Gallery\, Houston\, TX and Samson Projects\, Boston\, MA. Robyn has received press coverage in Vogue Italia\, the South Bend Tribune\, the Northwest Indiana Times\, Dig The Dunes\, The Advocate and The Charlotte Observer. A 2016 Stuart Abelson Graduate Research Fellow\, Day was also an Athens Photo Festival Finalist and Julia Margaret Cameron Award Finalist in 2015 and an Anne Louise Barrett Fellowship recipient in 2014.
URL:https://artinamericaguide.com/event/robyn-day-nobody-knows-exhibition-opening/
LOCATION:Elizabeth Houston Gallery\, 190 Orchard Street\, NEW YORK\, NY\, 10002\, United States
CATEGORIES:Exhibition
ATTACH;FMTTYPE=image/jpeg:https://artinamericaguide.com/wp-content/uploads/2021/04/01.jpg
ORGANIZER;CN="Elizabeth Houston Gallery":MAILTO:info@elizabethhpustongallery.com
GEO:40.7220866;-73.9879939
X-APPLE-STRUCTURED-LOCATION;VALUE=URI;X-ADDRESS=Elizabeth Houston Gallery 190 Orchard Street NEW YORK NY 10002 United States;X-APPLE-RADIUS=500;X-TITLE=190 Orchard Street:geo:-73.9879939,40.7220866
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/Halifax:20210423T120000
DTEND;TZID=America/Halifax:20210423T170000
DTSTAMP:20260503T205309
CREATED:20210419T154724Z
LAST-MODIFIED:20210419T154724Z
UID:80832-1619179200-1619197200@artinamericaguide.com
SUMMARY:Gary Burnley: In the Language of My Captor Closing Reception
DESCRIPTION:Elizabeth Houston Gallery will be hosting a closing reception for Gary Burnley’s current exhibition\, In the Language of My Captor on Friday\, April 23rd from 12-5pm.
URL:https://artinamericaguide.com/event/gary-burnley-in-the-language-of-my-captor-closing-reception/
LOCATION:Elizabeth Houston Gallery\, 190 Orchard Street\, NEW YORK\, NY\, 10002\, United States
CATEGORIES:Event
ATTACH;FMTTYPE=image/jpeg:https://artinamericaguide.com/wp-content/uploads/2021/04/Elizabeth-Houston-Gallery-Burnley-Gary-Untitled-2018-22-x-17-inches.jpg
ORGANIZER;CN="Elizabeth Houston Gallery":MAILTO:info@elizabethhpustongallery.com
GEO:40.7220866;-73.9879939
X-APPLE-STRUCTURED-LOCATION;VALUE=URI;X-ADDRESS=Elizabeth Houston Gallery 190 Orchard Street NEW YORK NY 10002 United States;X-APPLE-RADIUS=500;X-TITLE=190 Orchard Street:geo:-73.9879939,40.7220866
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/Halifax:20210224T000000
DTEND;TZID=America/Halifax:20210424T000000
DTSTAMP:20260503T205309
CREATED:20210217T215641Z
LAST-MODIFIED:20210217T215641Z
UID:80110-1614124800-1619222400@artinamericaguide.com
SUMMARY:In the Language of My Captor
DESCRIPTION:On view at Elizabeth Houston Gallery from February 24 through April 24\, 2021\, Gary Burnley’s eponymous series In the Language of My Captor recasts the venerable tradition of 18th- and 19th-century European portraiture\, carving out a space for alternate narratives whose central figures were not afforded the commensurate stature of the grand manner of painting. \nThe discipline of portraiture has historically been a grasping at social status and economic power\, giving permanence to the idealized visions of beauty it describes. But Burnley imbues the medium with a doubly disruptive capacity\, juxtaposing and overlapping imagery from different periods and sources\, and softening their discrepancies with circular cutouts. Reframing an Ingres\, Courbet\, or Coypel\, he populates their canvases with those who have been left outside the art historical cannon\, centering the lives of Black women\, men\, and children at the core of cultural dialogue. Through the bricolage and universal appeal of the circle as symbol of unity and timelessness\, he retells old tales in new inflections. \nSo it is with Burnley’s often conflicting and contradictory representations\, brought together seamlessly under the auspices of collage. Portraits of Marie Antonette\, of the artist’s grandmother and preschool classmates\, of Mona Lisa and Emmett Till—whose murder sparked the civil rights movement and struck fear into the hearts of generations—of family picnics\, unknowns\, and the artist himself\, are intricately interwoven in his work\, upending habitual interpretations. His Knock\, Knock (2019) transforms Seymour Joseph Guy’s Story of Golden Locks (ca. 1870)\, a genre painting of Guy’s children reading the fable\, through the insertion of the silhouette Flora (1796) as the elder daughter’s shadow on the bedroom wall. In 1796\, there were two options for recording one’s likeness: the expensive portrait\, and the 25-cent silhouette\, a profile tracing made by candlelight in a matter of minutes. Flora is one of the few known images of an enslaved person in 18th-century America\, accompanying a bill of sale for the 19-year-old woman for 25 pounds sterling in Fairfield County\, CT. The contradictions\, embedded squarely within the space of Burnley’s collaged portrait\, raise profound questions. \nAs Burnley explains it\, it is not so much that Black Americans inhabit a different world from their white counterparts\, but that they “live in the same world differently.” Compelling new “collaborations” between 18th-century paintings and 20th-century school yearbooks\, between family photos and found imagery\, he subverts art historical traditions and generates new\, more inclusive readings through amalgamation. If portraits have been used historically to depict power and wealth\, to solidify conceptions of virtue\, beauty\, and taste\, they are equally capable of disrupting the meanings they establish. Gary Burnley’s work does not jettison the language of portraiture altogether\, but rather reconstructs it beyond recognition\, making it fit to tell different stories. \nGary Burnley (b. St. Louis\, Missouri) received a BFA from Washington University in St. Louis and an MFA from Yale University. His work is part of museum and private collections in US including the Virginia Museum of Art\, Richmond\, VA\, Hunter Museum of American Art\, Chattanooga\, TN.\, Weatherspoon Art Museum\, University of North Carolina and the Marieluise Hessel Collection\, Bard College. Solo and group exhibitions include Aperture Gallery\, NY\, Ogden Museum\, New Orleans\, LA\, Tbilisi University\, Tbilisi\, Georgia\, Candela Gallery\, Richmond\, VA\, SALON\, Florence\, Italy\, Honey Ramaka Gallery\, Brooklyn\, NY\, Contemporary Arts Museum\, Houston\, TX\, Artists Space\, NY. A Photolucida Critical Mass 2020 Top 50 Selection\, Burnley was the 2020 Blue Sky Solo Show Winner\, a 2019 FotoFilmic Mesh Award finalist\, a finalist for the Clarence John Laughlin Photography Award in 2018 and has been the recipient of individual artist fellowships and commissions from the National Endowment for the Arts\, the State of Connecticut\, New York State Council on the Arts\, Creative Artist Public Service Program\, NYC\, MTA\, NYC and Bi-State Development\, Saint Louis\, Missouri.
URL:https://artinamericaguide.com/event/in-the-language-of-my-captor/
LOCATION:Elizabeth Houston Gallery\, 190 Orchard Street\, NEW YORK\, NY\, 10002\, United States
CATEGORIES:Exhibition
ATTACH;FMTTYPE=image/jpeg:https://artinamericaguide.com/wp-content/uploads/2021/02/Elizabeth-Houston-Gallery-Burnley-Gary-Knock-Knock.jpg
GEO:40.7220866;-73.9879939
X-APPLE-STRUCTURED-LOCATION;VALUE=URI;X-ADDRESS=Elizabeth Houston Gallery 190 Orchard Street NEW YORK NY 10002 United States;X-APPLE-RADIUS=500;X-TITLE=190 Orchard Street:geo:-73.9879939,40.7220866
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/Halifax:20201016T140000
DTEND;TZID=America/Halifax:20201016T180000
DTSTAMP:20260503T205309
CREATED:20201015T185531Z
LAST-MODIFIED:20201015T185531Z
UID:78191-1602856800-1602871200@artinamericaguide.com
SUMMARY:Ryan Martin: Thirsty Tide Artist Reception
DESCRIPTION:Ryan Martin’s Thirsty Tide exhibition at Elizabeth Houston Gallery ambitiously and deftly engages with two greater intertwined themes: humans’ complicated relationship to the environment and the changing cultural signs of generational difference among our peculiar species. In this series of vivid paintings\, Martin portrays some of the ambivalence and conflicts humans have with their larger environ-ment\, now more than ever. Intensifying the luminous sensations with which he imbued individual portraits of adolescence in Moxie\, the previous series of drawings and mixed media he exhibited at Elizabeth Houston Gallery in 2019\, Martin more fully fleshes out each depiction through saturated hues of oil applied to canvas. In each of Thirsty Tide’s thirteen individual works\, Martin tightly rings the depicted face with corporeal haloes made up of the bodies of other living beings. In some cases these other beings overlap or impinge on the human faces themselves\, as with the octopus tentacles woven through the hair of its human counterpart in “Concord Gray\,” or the large dark scorpion affixed to the cheek of Martin’s human subject in “Hella Marmalade\,” its pincers framing the left eye of its human mount. The timeliness of each picture’s title – e.g.\, “Rosa Fleek\,” “Clap Back Copper\,” or “Honeysuckle Deets” — draws on contemporary speech culture that is very of the moment. Meanwhile\, the flora and fauna\, which not only surround their neighboring human faces but are positioned as if to envelop them\, suggest a more timeless relation to nature. Continuing with some of the magic light and beautiful sun-dappled faces of his own Southern California origins that inform his earlier work\, Martin deepens those references with color and illumination choices that suggest both tropical climes and hyper-real moments of civilization with muted reddish glows suffusing some portraits\, and\, in others\, neon specimens popping out to insist on their existence for the viewer. Embedded within impressions of watery immersion that evoke the rising tides of global climate change alluded to in the show’s overarching title\, the intimacy of these depictions of people with nature – almost to the point of merging – suggest the combined feelings of vulnerability\, menace and loss that each of us might experience in relation to other creatures of the natural world. That intertwined closeness also suggests some of the sense of constriction so many have been undergoing in recent seasons impacted by social shutdown and physical isolation in response to the global pandemic. Fully available for viewing in the digital realm\, the original works in Thirsty Tide will also be hung in the Elizabeth Houston Gallery space\, where the physicality of their images will continue to offer material as well as striking imagistic presences throughout the duration of the exhibition. \nRyan Martin was born in Southern California. He currently lives and works in the San Francisco Bay Area where he at tended the California College of the Arts\, studying under his mentors Jack Mendenhall and the late Yee Jan Bao. Martin’s artwork has been highlighted by numerous media including THE ADVOCATE\, CHIC TODAY MAGAZINE\, and THE ART OF MAN.
URL:https://artinamericaguide.com/event/ryan-martin-thirsty-tide-artist-reception/2020-10-16/
LOCATION:Elizabeth Houston Gallery\, 190 Orchard Street\, NEW YORK\, NY\, 10002\, United States
CATEGORIES:Event
ATTACH;FMTTYPE=image/jpeg:https://artinamericaguide.com/wp-content/uploads/2020/10/Bondi-Bae-Oil-on-Canvas-20x16-inches-2020-HIGHEST-RES-scaled.jpg
GEO:40.7220866;-73.9879939
X-APPLE-STRUCTURED-LOCATION;VALUE=URI;X-ADDRESS=Elizabeth Houston Gallery 190 Orchard Street NEW YORK NY 10002 United States;X-APPLE-RADIUS=500;X-TITLE=190 Orchard Street:geo:-73.9879939,40.7220866
END:VEVENT
END:VCALENDAR