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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
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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
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