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SUMMARY:Suzanne McClelland | PLAYLIST
DESCRIPTION:Marianne Boesky Gallery is pleased to present PLAYLIST\, Suzanne McClelland’s first solo exhibition at the gallery\, on view May 4 – June 5\, 2021 at 507 West 24th Street in New York. For the past 30 years\, Suzanne McClelland’s paintings\, drawing\, collaborative unbound books\, multiples and prints have explored the visual\, linguistic and acoustic dimensions of language. \nIn her newest series of paintings\, PLAYLIST\, McClelland approaches language through music\, organizing lists and conjoining names of musicians to suggest language as a form of portraiture. Performers are paired based on aural affinities in their music\, dissolving the factors of genre or category. McClelland approaches text as abstraction bringing to light the porous nature of identity. Since names are inherently abstract\, and in this case proper names\, they are only imbued with meaning once attached to a person. McClelland’s interest lies in parsing the gap between a name and its physicality; searching for what a name represents. The canvases become a place for inscription\, akin to graffiti\, a map\, or initials carved into a tree. The materiality of McClelland’s paintings echoes this gesture as she employs polymers\, dry pigments\, archival glitter\, and graphite to excavate meaning within their surface. \nReflecting back on her early experience as a photographer and the chemistry in the dark room\, McClelland’s material dissection similarly allows the final image to come into view almost magically as her framed subject emerges. The visual qualities of the names themselves create formal relationships within the canvas\, asking the traditional structure of the grid to dissolve\, shifting to accommodate pure color and the form of the letters. On the backs of the canvases\, McClelland has collaged a collection of photographs of each performer\, providing another set of data to inform the abstraction while relegating any direct representation. \nThe very act of creating a playlist is a personal one\, and here\, McClelland posits playlists as a form of both personal and collective memoir. In offering a list of names\, the artist invites the viewer to bring their own memories and experiences to the work\, suggesting a shared history built through music. Through recalling her own memories of musical history\, abstracted on the canvas\, McClelland implies a greater reverence for aural history\, naming names\, noting who listened to whom\, and the performers’ recording history.
URL:https://artinamericaguide.com/event/suzanne-mcclelland-playlist/
LOCATION:Marianne Boesky Gallery\, 601 East Hyman Ave\, 2nd Floor\, Aspen\, CO\, 81611\, United States
CATEGORIES:Exhibition
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DTSTART;VALUE=DATE:20210327
DTEND;VALUE=DATE:20210425
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SUMMARY:Allison Janae Hamilton | A Romance of Paradise
DESCRIPTION:Marianne Boesky Gallery is pleased to present A Romance of Paradise\, Allison Janae Hamilton’s inaugural solo exhibition with the gallery. For A Romance of Paradise\, Hamilton will present new photographs\, videos\, and sculptural works that highlight the artist’s ongoing exploration of interwoven themes such as environmental justice\, folklore and mythologies\, and the traditions of communities living in vulnerable landscapes within the rural American South. The title of the exhibition takes the original denotation of the word paradise\, meaning “heaven\,” underscoring the myths of an Edenic southern landscape formed during the exploitative and violent southward expansion of the United States. A Romance of Paradise will be on view March 27 – April 24\, 2021 at the gallery’s 507 West 24th Street location in New York. Marking a major milestone at the gallery\, A Romance of Paradise will be the first carbon-conscious exhibition at Marianne Boesky Gallery. \n  \nA Romance of Paradise is centered around the undeniable verity that the development of the United States was an expansion squarely rooted in the creation of narratives. In contrast to the West\, which was viewed as an open range to be conquered and settled\, the South was surrounded by optimistic legends of a rich\, fertile landscape primed for cultivation. Some early explorers to southeast America maintained the view that the biblical Garden of Eden was literally located on the 35th parallel north\, the length of which runs from New Bern\, North Carolina\, to Memphis\, Tennessee. Within the works on view\, Hamilton looks at the formation of these mythologies and the way in which brutal colonization of land and people have molded contemporary beliefs and current realities\, such as the continued exploitation of land and resulting climate change crisis that often disproportionately impacts communities in the rural Black South. The artist deftly explores the often less visible yet resilient histories of the region\, driven by her own connections to Kentucky\, where she was born\, to Florida\, where she grew up\, to rural Tennessee\, the location of her maternal family’s homestead. Hamilton weaves in these personal narratives with pressing contemporary issues\, through her photography that combines the lush landscapes shot in rural Northern Florida with the complex lived experiences of its inhabitants\, and sculptural works that evoke a land that is simultaneously idyllic\, fragile\, and haunted by its own history. \n  \nA Romance of Paradise will include recognized elements to the artist’s work and new interpretations of recurring items and motifs. Hamilton’s familiar fencing masks\, adorned with gathered materials such as feathers and botanical designs\, will be presented in a lighter color palette\, contrasting the warriorlike appearance of the masks\, as well as mixed media works from the artist’s Yard Signs series. Additionally\, new sculptures from Hamilton’s Creatures series will be on view. The sculptures\, taking forms of an alligator\, white-tailed deer\, and a rattlesnake – all found in her home region of North Florida\, present visions of predator and prey in a delicate\, white finish reminiscent of porcelain. Taken as a whole\, the ethereal colors and textures create\, at first glance\, a heavenly\, immersive landscape. However\, upon closer examination\, the snarling creatures and warlike masks interspersed in the space speak to an underlying violent depth. \n  \n“The works in A Romance of Paradise comprise a narrative ecosystem that is both tangible and mythic.  The photographs\, videos\, and sculptures explore how historical myths used to justify violent expansion have contemporary implications affecting present-day landscapes and those living therein\, not only in the American South but throughout the world at large.” said Allison Janae Hamilton \n  \nMany of the artworks in A Romance of Paradise draw from early African American nature writing\, rituals of hoodoo and traditional healing modalities\, botanical drawings\, and contemporary lived experiences of communities navigating the distinct impacts of climate change within the South. By drawing together elements from these sources in her deeply personal\, interdisciplinary practice\, Hamilton interrogates how these histories and myths can give clues to present day experiences and the precarious implications of environmental exploitation on the future. In Hamilton’s photography\, for instance\, the artist imbeds friends\, family\, and herself as actors against the backdrop of Northern Florida\, bringing together elements of landscape and portrait photography. Adorning her subjects with objects gathered from the environment and combining them with both timeless and contemporary symbolic gestures\, Hamilton creates narrative portraits of the actors who are inextricably linked to and disruptors of an environment that collapses history\, present\, and future. \n  \nShown together\, the works in A Romance of Paradise explore how human intervention on the landscape over time has impacted the communities that inhabit it today\, presenting an image that is contemporary yet ancient\, captivating yet disturbing. Each element of the exhibition brings forth the rituals that work within and around these landscapes\, demonstrating the continuation and precariousness of the notion of the American Eden. \n  \nAligning with Hamilton’s interest in environmental justice\, A Romance of Paradise will be the first carbon-conscious exhibition at Marianne Boesky Gallery. The gallery has expanded and prioritized its commitment to sustainability since the formation of its Green Initiative Committee in 2019. In addition to ongoing environmentally friendly practices with Galleries Commit\, A Romance of Paradise will track carbon output throughout the planning and execution of the individual artworks and the exhibition as a whole and will account for carbon conservation in the cost of each work. At the end of the show\, the gallery will make a donation\, including for any unsold works\, to permanent\, old-growth forest conservation with Galleries Commit x Art to Acres. \n  \nTimed to the opening of the exhibition\, Allison Janae Hamilton will present her video work Wacissa (2019)\, for Times Square Arts’ ‘Midnight Moment’ from April 1 – 30\, 2021. Midnight Moment is the world’s largest\, longest-running digital art exhibition\, synchronized on electronic billboards throughout Times Square nightly from 11:57pm to midnight. In Wacissa\, the viewer is submerged in the undulating waters of rivers from Hamilton’s home region of North Florida. Recounting a deeply localized history\, the film shows a river system wherein limestone was excavated by slave labor to bring cotton from Georgia through the Florida Panhandle to ships waiting in the Gulf of Mexico\, exploring intertwined concepts of the coastal South\, labor\, and myths of paradise. \n  \nAllison Janae Hamilton (b. 1984) was born in Kentucky\, raised in Florida\, and her maternal family’s farm and homestead lies in the rural flatlands of western Tennessee. Hamilton’s relationship with these locations forms the cornerstone of her artwork. Hamilton has exhibited her work at the Museum of Modern Art\, New York\, NY; Storm King Art Center\, New Winsor\, NY; the Studio Museum in Harlem\, MoMA PS1\, Long Island City\, NY; the Smithsonian National Portrait Gallery\, Washington\, DC; the Jewish Museum\, New York\, NY; Fundación Botín\, Santander\, Spain; the Brighton Photo Biennial\, Brighton\, UK; and the Istanbul Design Biennial\, Istanbul\, Turkey. Solo exhibitions of her work include Pitch at the Massachusetts Museum of Contemporary Art (MASS MoCA)\, North Adams\, MA (2018); Passage at Atlanta Contemporary\, Atlanta\, GA (2018); and Wonder Room at Recess\, New York\, NY (2017). She is the recipient of the Creative Capital Award and the Rema Hort Mann Foundation Grant\, as well as wide range of residencies. Hamilton’s work is in numerous private and public collections including the Studio Museum in Harlem and The Menil Collection. Hamilton received her PhD in American Studies from New York University and her MFA in Visual Arts from Columbia University. \n  \nAbout Galleries Commit \nGalleries Commit is a worker-led collective committed to a climate-conscious\, resilient\, and equitable future for New York City galleries.
URL:https://artinamericaguide.com/event/allison-janae-hamilton-a-romance-of-paradise/
LOCATION:Marianne Boesky Gallery\, 601 East Hyman Ave\, 2nd Floor\, Aspen\, CO\, 81611\, United States
CATEGORIES:Exhibition
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DTEND;VALUE=DATE:20210314
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SUMMARY:Jay Heikes | Echo in Color
DESCRIPTION:Marianne Boesky Gallery is pleased to present Echo in Color\, Jay Heikes’ fifth solo exhibition with the gallery. With his upcoming show\, Heikes continues his exploration of alchemical processes and the fleeting sense of connection that can be found when turning to nature and the universe. The exhibition will feature a selection of new and recent paintings from the artist’s Mother Sky series and Minor Planets sculptures. Echo in Color will be on view February 13 – March 13\, 2021 at the gallery’s 507 West 24th Street in New York. On the occasion of this exhibition\, the artist’s first comprehensive monograph will be published in cooperation with Gregory Miller & Co. and distributed by Distributed Art Publishers and will feature text by Sarah Lehrer-Graiwer\, Jenelle Porter\, Philippe Vergne\, and an interview between Heikes and Hamza Walker. \n  \nHeikes is regarded for his varied practice\, wherein he combines and transforms an array of media and materials\, including recent works that center around a preoccupation with the philosophical tradition of alchemy. The title of the exhibition\, Echo in Color\, references the perceptual phenomena of synesthesia\, a blending of the senses in which the stimulation of one modality produces sensation in another. The assembled works in the exhibition evoke a similar awareness\, crossing the senses in ways that are not understood through everyday language. Heikes’ preoccupation with these concepts speaks to his deep considerations of the role that art serves in culture. During a time of economic\, social\, and environmental turbulence\, the artist creates a meditative response to this uncertainty. \n  \n“The sheer vastness of a wide-open space is imbued with feelings of emptiness – only in a cave or canyon can the gesture of a scream be returned\,” said Heikes. “Through the last four years of alienation and the recent time collectively spent in isolation\, I began to see the idea that in retreating to an imagined vastness\, such as through a painting of the sky\, the works become representations that keep us grounded and avoid the total void of the sublime.” \n  \nIn particular\, Heikes is interested in the juxtaposition of the painting and sculpture presented within Echo in Color. In his Mother Sky works\, the artist stains the canvas using a combination of vinegar\, salt\, and powdered pigment. As they react\, these substances generate unpredictable hues\, ranging from rust\, indigo\, copper\, and fluorescent greens. Screen printed and dabbed on the canvases are voluminous shapes of clouds and smoke\, composed from distortions of found and photographed images. The euphoria in the otherworldly and meditative vistas simultaneously cause an underlying unease through the eerie and acidic tones of the tempestuous\, burning skies that layer the canvas. The imagined atmospheres\, at first an escapist opportunity for the viewer\, reflect an inability to create complete control. \n  \nPresented alongside the paintings\, Heikes will feature Minor Planets sculptures. This series of sculptures has been crafted from a range of materials\, including concrete\, pyrite\, salt\, slag\, asphaltum\, quartz\, rope\, and dust collected from the artist’s studio in the forms of modeled orbs and disks – timeless and ancient in appearance. The latest iteration of the Minor Planets on view in Echo in Color has transitioned to center on the material of concrete\, giving the sculptures weight and autonomy in both their scale and composition. In this way\, the juxtaposition of turning to the sky as a means of transcendence alongside the grounding materiality of the sculptures offers refuge in turbulent times. Yet even the Minor Planets serve as a testimony to the unpredictability of the artist’s chosen mediums and form\, as the metals and complementary materials in the sculptures oxidize and mutate over time. In his 2019 text on this body of works\, “I Wavereth\,” Heikes notes\, “At times it feels like I am playing God with these landscapes\, imagining an atmosphere from above that has finally freed itself of all human trivialities. I was supposed to pick up the mantle of activism and help answer the people’s cries but instead I became more distant\, even hidden\, while creating these representational moods of the soul.” \n  \n\nYale graduate and Minneapolis-based artist Jay Heikes (b. 1975) is known for his heterogeneous practice\, which mixes and reinterprets a kaleidoscopic array of media—activating stories\, puns\, and irony in a cyclical meditation. His most recent body of work employs his preoccupation with the philosophical tradition of alchemy. Themes of evolution and regeneration\, stasis and corrosion take form in his artistic actions\, recharging Heikes’ previous narrative pursuits and reaffirming the notion that mutation and change are essential to the creative process. \n  \nFollowing his first solo presentation at Artists Space\, New York in 2003\, Heikes participated in a number of group exhibitions at venues such as the New Museum of Contemporary Art\, New York (2003) and the Renaissance Society at the University of Chicago (2002 and 2005). In 2006\, Heikes was included in the Whitney Biennial: Day for Night\,curated by Chrissie Iles and Philippe Vergne. Since then\, Heikes has been the subject of numerous domestic and international exhibitions\, including shows at The Institute of Contemporary Art\, Philadelphia (2007); the Aspen Art Museum (2012); Grimm Gallery\, Amsterdam (2015); Shane Campbell Gallery\, Chicago (2015); Federica Schiavo Gallery\, Rome (2019); and Joslyn Art Museum\, Omaha\, NE (2019).
URL:https://artinamericaguide.com/event/jay-heikes-echo-in-color/
LOCATION:Marianne Boesky Gallery\, 601 East Hyman Ave\, 2nd Floor\, Aspen\, CO\, 81611\, United States
CATEGORIES:Exhibition
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SUMMARY:Opening Reception for Xenia: Crossroads in Portrait Painting
DESCRIPTION:Join us to celebrate the opening of Xenia: Crossroads in Portrait Painting on Thursday\, January 16 from 6-8 PM at Marianne Boesky Gallery. This group show explores the resurgence of portraiture as an incisive platform through which to consider the nature and meaning of identity. As our globalized society becomes increasingly marked by emigration\, resettlement\, and technological interconnectedness\, so too have notions of the self become exponentially fractured and complex. Through the work of seventeen artists\, Xenia: Crossroads in Portrait Painting captures the ways in which artists are leveraging the power of the portrait to express these intricacies\, exposing the relationship between identity\, place\, and shifting social norms.
URL:https://artinamericaguide.com/event/opening-reception-for-xenia-crossroads-in-portrait-painting/
LOCATION:Marianne Boesky Gallery\, 601 East Hyman Ave\, 2nd Floor\, Aspen\, CO\, 81611\, United States
CATEGORIES:Event,Exhibition
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SUMMARY:Tricknology: ektor garcia and Allison Janae Hamilton curated by Sanford Biggers
DESCRIPTION:Marianne Boesky Gallery is pleased to announce that it will present an exhibition this summer curated by artist Sanford Biggers\, featuring the work of Allison Janae Hamilton and ektor garcia—both of whom have long-standing relationships with Biggers. Hamilton and garcia are recognized for their complex\, narrative-infused tactile sculptures and installation pieces\, and this exhibition will explore the ways in which both artists use materials to evoke history and define new mythologies—aspects of this approach are also present in Biggers’ own practice. Tricknology will be on view at Marianne Boesky Gallery’s location in Aspen\, Colorado\, from July 26 through September 9.
URL:https://artinamericaguide.com/event/tricknology-ektor-garcia-and-allison-janae-hamilton-curated-by-sanford-biggers/
LOCATION:Marianne Boesky Gallery\, 601 East Hyman Ave\, 2nd Floor\, Aspen\, CO\, 81611\, United States
CATEGORIES:Exhibition
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