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Art Uncovered — Die Like You Really Mean It on BreakThru Radio
11/29/2011
This week on Art Uncovered, artists Paul Brainard and Frank Webster talk about the show they've curated at Allegra LaViola Gallery: Die Like You Really Mean It. The show is on view through December 3rd, 2011.
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Guest of a Guest
11/22/2011
Die Like You Really Mean It: curated by Paul Brainard and Frank Webster
Allegra La Viola Gallery is pleased to present Die Like You Really
Mean It, a group exhibition on view from October 26 – December 3. The
exhibition is curated by artists Paul Brainard and Frank Webster and
features new paintings and sculpture by over twenty artists living in
the New York metro area.
The works included in this exhibition are often resistant to purely
formalist and conceptual concerns, engaging themes that extend beyond
the material media of painting.
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ArtCat Pick
11/22/2011
Die Like You Really Mean It: curated by Paul Brainard and Frank Webster
PICK
Allegra LaViola Gallery
179 East Broadway, 917 463 3901
East Village / Lower East Side
October 26 - December 3, 2011
Opening: Wednesday, October 26, 6 - 9 PM
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The L Magazine
11/22/2011
Die Like You Really Mean It
Wednesdays-Sundays. Continues through Dec. 3
917-463-3901
Art
www.allegralaviola.com/Shows-Detail.cfm?ShowsID=40
Something of a mini-survey of the New York painting scene in
its current state, there's a little bit of everything here:
hyper-dynamic and bold landscape-evoking abstractions by Emily Noelle
Lambert and Oliver Warden; eerie, monochrome and futuristic photorealist
interiors by Doug Young; a scary Francis Bacon-takes-the-subway diptych
by Brian Montuori; and a spectacular peeling wall relief by Erika Keck.
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New York Art Scene
11/22/2011
Continuing thru Dec 3rd:
“Die Like You Really Mean It”,
Curated by Paul Brainard and Frank Webster
Wednesday through Saturday, 12-6PM
Allegra LaViola Gallery, 179 E. Broadway, NYC
Featuring the work of:
Erik
Benson, Paul Brainard, Pia Dehne, Hiroyuki Hamada, Elizabeth Huey,
Erika Keck, Emily Noelle Lambert, Frank Lentini, Eddie Martinez, Brian
Montuori, Bryan Osburn, Kanishka Raja, Erika Ranee, Tom Sanford,
Christopher Saunders, Kristen Schiele, Ryan Schneider, Oliver Warden,
Frank Webster, Eric White and Doug Young |
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Arrested Motion
11/22/2011
Showing: “Die Like You Really Mean It” @ Allegra LaViolaNow showing at the Allegra LaViola Gallery on Manhattan’s lower east side is a dynamic group show entitled Die Like You Really Mean It. The exhibition, curated by painters Paul Brainard and Frank Webster, assembles a wide range of more than 20 contemporary artists in the New York City area, including Eric White, Eddie Martinez and Kristen Schiele.
Painting is clearly the focus – nearly all of the works are of the
medium, but also the diversity of styles and themes of painting suggests
that the curators intend for viewers to examine and contemplate the
strengths and constraints of the medium itself. Die Like You Really Mean It is up until Dec. 3.
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Whitehot Magazine
11/22/2011
Die Like You Really Mean It
Allegra LaViola Gallery
October 26 - December 3 2011
Die like you really mean it. This statement could be a call to
radical action. It could be a poetic way to talk about living well in a
tough world. This could be the expression of a narcissist, or someone
demanding social justice. Or It could be about how much, exactly, are we
true to ourselves. The philosopher Slavoj Zizek captures the heart of
the debate when describing his critique around of the modern person,
writing: “...people who profess their cynical distance and radical
pragmatic opportunism secretly believe much more than they are willing
to admit, even if they transpose these beliefs onto (nonexistent)
“others.”” It could also be the sort of thought that forms into a Chuck
Palahniuk moment, where the narrator in Fight Club intones: “On a long
enough timeline, the survival rate for everyone drops to zero.”
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Brask Art Blog
10/17/2011
Die Like You Really Mean It – Curated by Paul Brainard & Frank Webster
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Inaugural Annual Gala
10/4/2011
Adarsh Alphons Projects cordially invites you to attend its Inaugural
Annual Gala.
Come be the first to enjoy this year’s visionary displays by aspiring
artists at ADARSH ALPHONS PROJECTS and visit one of New York's most
exciting galleries, THE HOLE. Your generous donation ensures art’s
exciting future by inspiring young minds at Adarsh Alphons Projects and
access to brilliant collections. Feast your eyes on a full palette of p...aintings
and drawings that were made this summer. Take part in the must-attend
event of the year, support the community, and enjoy a magical evening of
art, entertainment, game, food, and wine.
Hands Down, Anita
Durst is a winner for her magnificent contributions in helping artists
realize their voice and their visions. The benefit honors Anita Durst,
Founder and Artistic Director of chashama, Inc for her cultural and
philanthropic legacy in New York City.
For more information and tickets, please visit adarshalphonsprojects.org
Adarsh Alphons Projects proudly acknowledges its Inaugural Annual Gala
corporate sponsors Durst Organization, artnet, The Hole, Dedegumo and
Celadon Financial Group.
Institutional Support for AAP's
programs provided by: The Shelley & Donald Rubin Foundation, The
Durst Family Foundation (administered by the Rockefeller Philanthropy
Advisors) and Levitt Foundation.
Supporting Sponsors: Barielle
Cosmetics, Jazz at Lincoln Center, American Museum of Natural History,
The City Firm and Relationships Are Priceless.
Media Partners: CNN, New York 1 News and artnet
AAP is grateful to the following individuals for their pioneering
support and commitment: Anita Durst, Donald and Shelley Rubin, Blondel
Pinnock, Darius Walker, Juan Carlos Zapata, Rev. Vernon Williams, Jamie
Johnson, Asya Geisberg, Jody Prusan, Michael Clarke, Grimanesa Amoros,
Kathy Grayson, Derrick B. Harden, Laura O'Reilly, Leah Abraham, Gordon
Tapper and Katarina Morhacova.
AAP is indebted to its wonderful
Host Committee: Betina Bethlem, Jennifer Krantz, Mae Bagai, Kristin
Nelson, Grace Aneiza Ali, Adam Okrasinski, Michael D'Amelio, Feroz
Khosla, Joe Puthenveetil, Anita Hossain, Judy Chen, April Hunt and
Elizabeth Insognia.
AAP is thrilled to announce that the
evening will include a live auction lead by Senior Specialist and
Auctioneer of artnet, Brent Lewis, and featuring magnificent works for
silent auction by artists: Carla Gannis, Heide Hatry, Lee Wells, Ridley
Howard, Max Razdow, Emily Noelle Lambert, Frank Webster, Grace Roselli
and Liz Insogna. Students from AAP will create a live mural on-site to
be auctioned off at the end of the night. For more information on the
artists and auction items, please visit: http://bit.ly/ntZTjH
AAP would like to thank our small but growing group of individual
donors and parents, without whose enduring support and vision, we would
not be able to serve our community fully. You know who you are!
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Die Like You Really Mean It
9/18/2011
Die Like You Really Mean It
October 26 - December 03, 2011
Opening reception: October 26, 6-9PM
Erik Benson
Paul Brainard
Pia Dehne
Hiroyuki Hamada
Elizabeth Huey
Erika Keck
Frank Lentini
Eddie Martinez
Brian Montuori
Emily Noelle Lambert
Bryan Osburn
Kanishka Raja
Erika Ranee
Tom Sanford
Christopher Saunders
Kristen Schiele
Ryan Schneider
Frank Webster
Eric White
Oliver Warden
Doug Young
Curated by Paul Brainard and Frank Webster
Press Release:
Allegra La Viola Gallery is pleased to present Die Like You Really Mean It, a group exhibition on view from October 26 – December 3. The exhibition is curated by artists Paul Brainard and Frank Webster and features new paintings and sculpture by over twenty artists living in the New York metro area. The curators have assembled an energetic and dynamic show, where each work registers as a highly charged expression of the individual artist. Brainard and Webster have maintained a special interest in choosing works that register not as intentionally ironic but rather as sincerely and at times viscerally rendered. This exhibition celebrates painting as a healthy, living, and variegated mode of art making in New York.
The works included in this exhibition are often resistant to purely formalist and conceptual concerns, engaging themes that extend beyond the material media of painting. Figurative and scenic elements may invite narrative readings while color is used forcefully, liberally, or selectively. The expressive qualities of color among the works range widely from Oliver Warden’s transformative explosions of color, to Hiroyuki Hamada’s restrained, bi-chromatic capsule-like wall reliefs. Also of concern among the works is the relationship between the human being and its environment, exemplified by Erik Benson and Kristen Schiele’s depictions of inhabited indoor and outdoor settings, Pia Dehne’s complex compositions in which figure and ground are enmeshed through lyrical patterns of line and geometry, and Kanishka Raja’s use of pattern to unite various specific locations depicted in the same visual space.
Atypically, this show exalts in its contrasts. The works of Chris Saunders and Brian Montouri could best sum this up. Saunder’s paintings are slick and calm on the surface but belie an unsettling and subversive content, while Montouri’s vision is a veritable disgorgement of expressionist storm and bluster. Each artist pushes the medium with equal passion, but in radically different directions, with starkly different results. This passion however is one thing all of the artists in Die Like You Really Mean It share in common.
—Paul Brainard, Kristen Lorello and Frank Webster
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Keyed Curated by Glen Baldridge
9/6/2011
Keyed
Curated by Glen Baldridge
OPENING RECEPTION:
Wednesday, September 14 from 6-8 pm
New works on paper by 17 exciting artists:
Dan
Alvarado, Felipe Baeza, Joell Baxter, Erin Diebboll, Maria Ignacia
Edwards, Brad Ewing, Laurie Frick, LNY, So Yoon Lym, Jennifer Mack,
Arturo Meade, Laimah Osman, Felix Plaza, Linda Plotkin, Mary Ting, Frank Webster, and Liz Zanis
Exhibition on view September 14 - November 9, 2011
Hours: Weekdays from 10 am - 6 pm, and weekends from 12 - 6 pm.
Free and open to the public.
Click here for directions.
The Lower East Side Printshop is pleased to present Keyed, with a reception for artists on Wednesday, September 14, 6 - 8pm. The exhibition will be on view at the Printshop from September 14 - November 9, 2011 and features new works on paper by 17 artists currently in-residence.
This
exhibition represents recent works from current Keyholder Residency
Program artists and participants in the Studio Rental Program. These
programs provide New York area artists access to both affordable
facilities and a close knit print community; both of which are essential
to self publishing printmakers. The exhibited works are a great example
of both the range of techniques and experimentation possible at the
shop and the high caliber of work being produced there. As a former
Keyholder, it is exciting to see the continuation of these programs and
the expansion into the beautiful Midtown facilities. It continues to be a
much needed contribution to printmaking in New York City and the print
community at large.
- Glen Baldridge
Lower East Side Printshop 306 W. 37th Street, 6th Floor
New York, NY 10018
212-673-5390
info@printshop.org
www.printshop.org
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Art Gwangju
9/5/2011
Booth at Art Gwangju, Aug 31st – Sept 4th.
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The Morandi exhibition will travel to Art:Gwangju
7/13/2011
Brain Factory has been invited to participate in Art:Gwangju and will present the The Morandi exhibition.
Art:Gwangju, the international art fair sponsored by the Gwangju Biennale, will run from September 1 to September 4, 2011. The venue will be Kimdaejung Convention Center http://www.kdjcenter.or.kr/
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Alternate Routes: New Work by Keyholder Artists in Residence
6/24/2011
Wednesday, July 13 from 6-8 pm
New works by exciting artists:
Felipe Baeza, LNY, Priscila De Carvalho, Maria Ignacia Edwards, Laurie Frick, Arturo Meade, Laimah Osman, and Frank Webster
The Lower East Side Printshop is pleased to announce Alternate Routes: New Work by Keyholder Artists in Residence, with a reception for artists on Wednesday, July 13, 6 - 8pm. The exhibition will be on view at the Printshop from July 11 - September 7, 2011 and features new works created by eight of this year's recipients of the Printshop's prestigious Keyholder Residencies.
The Keyholder Residency provides emerging artists with free, year-long access to professional printmaking facilities to develop new work and foster their artistic careers. Artists of all disciplines participate as Keyholders and gain access to the Printshop's vibrant community. Felipe Baeza, LNY, Priscila De Carvalho, Maria Ignacia Edwards, Laurie Frick, Arturo Meade, Laimah Osman and Frank Webster have all broadened their artistic practice through creative exploration, career development opportunities, and immersion in the world of printmaking. From collage, to cutting, to embroidery--their new works demonstrate delight and curiosity in experimenting with new materials, and a desire to explore new possibilities in their artistic practice.
Join us for the reception on Wednesday, July 13, from 6 - 8 pm!
Exhibition on view July 11 - September 7, 2011
Hours: Weekdays from 10 am - 6 pm, and weekends from 12 - 6 pm.
Free and open to the public.
Lower East Side Printshop
306 W. 37th Street, 6th Floor
New York, NY 10018
212-673-5390
info@printshop.org
www.printshop.org
About the Artists
FELIPE BAEZA (b. 1987, Guanajuato, Mexico; lives and works in Brooklyn, NY) received his BFA from The Cooper Union for the Advancement of Science and Art. His work has been featured in The New School, New York, NY; International Print Center New York, NY; and Meyerson Hall Gallery, University of Pennsylvania, Philadelphia, PA. He is the recipient of the Michael S. Vivo Prize for Drawing.
LNY received a BFA from the Mason Gross School of the Arts, Rutgers University. LNY's work has been featured internationally in AKA Berlin, Berlin, Germany; Public Studio V, Incheon, South Korea; Northern Soul, Hoboken, NJ; and 111 Minna Gallery, San Francisco, CA. LNY has held residencies in Seoul, South Korea and Incheon, South Korea.
PRISCILA DE CARVALHO (b. 1975, Brazil; lives and works in Long Island City, NY) received her BA from City College of San Francisco. Recent solo exhibitions include Russell/Project, Richmond, VA; Jamaica Center for Arts & Learning, Jamaica, NY; and Praxis International Art Gallery, New York, NY. Priscila is the recipient of the Pollock-Krasner Foundation Grant and Artist in the Marketplace, Bronx Museum, Bronx, NY.
MARIA IGNACIA EDWARDS (b. 1982, Santiago, Chile; lives and works in Brooklyn, NY) received her BFA from Universidad Finnis Terrae. Her work has been the subject of solo exhibitions at The Starret-Lehigh Building, New York, NY; and La Sala Gallery, Santiago, Chile. Group exhibitions include School of Visual Arts, New York, NY; Centro de Artes Visuales de Santiago, Chile; Centro Cultural Montecarmelo, Santiago, Chile; and she has produced several commissioned projects in Chile.
LAURIE FRICK (b. 1955, Los Angeles, CA; lives and works in Austin, Texas and Brooklyn, NY) received her MFA from the New York Studio School and MBA from the University of Southern California. Recent solo exhibitions include Edward Cella Art & Architecture, Los Angeles, CA and Robert Steele Gallery, New York, NY. Select group exhibitions include the Texas Biennial, Houston, TX; McColl Center for Visual Art, Charlotte, NC; and NYSS Gallery, New York, NY.
ARTURO MEADE (b. 1963, Mexico City, Mexico; lives and works in New York, NY) is a self-taught artist. His work has been featured internationally in solo and group exhibitions including Museo de Arte de Querétaro, Querétaro, Mexico; Museu Valencia de la llustracio i de la modernitat, Valencia, Spain; Waikato Art Museum, New Zealand; and Galería Talleres Portocarrero, Havana, Cuba.
LAIMAH OSMAN (b. 1975, Kabul, Afghanistan; lives and works in Brooklyn, NY) received her MFA from Pratt Institute and BFA from Mason Gross School of the Arts, Rutgers University. She is the recipient of the Community Arts Regrant Program of the Greater New York Arts Development Fund; co-founder of The Persian Poetry Project, and participant of the 2010 Southern Graphics Conference Print Exchange, Philagrafika, Philadelphia, PA.
FRANK WEBSTER (b. 1966, Fort Wayne, Indiana; lives and works in Brooklyn, NY) received his BFA from the School of the Art Institute of Chicago and his MFA from the Mason Gross School of the Arts, Rutgers University. Recent solo and group exhibitions including Blackston, New York, NY; Bespoke Gallery, New York, NY; Brain Factory, Seoul, South Korea; and Exile, Berlin, Germany. Awards include the Pollock-Krasner Foundation Grant and Golden Foundation Individual Artist Award.
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Aeon Art Projects, Summer Print Show
6/5/2011
Summer Print Show
June 3 - August 29
For three months this summer, Aeon will be showing fine art prints from a very diverse group of artists.
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Homage to Morandi: Essence of Art
6/1/2011
This is a show in Seoul, South Korea I will be in this summer. Opening reception is 6-11 at 6pm.
Homage to Morandi: Essence of Art
Sook-jeen Oh (Director of Brain Factory)
The Idea of this exhibition came from
the lingering thoughts of flower paintings presented at a retrospective
of Giorgio Morandi (1890~1964, Italian) who has been considered as a
master of 20th century still-life painter, at the New York Metropolitan
Museum of Art back in 2008. For this exhibition, fourteen local and
international artists have individually interpreted ‘the Essence of Art'
as a common theme revolving around Morandi's works and life. The beauty
of a retrospective comes by encountering the strong aura of existence
from the artist's entire life through his artifacts in a confined space.
The retrospective of Giorgio Morandi at Metropolitan Art Museum was
certainly one of the most memorable exhibitions because of two
distinctive reasons. First, the letters he sent to his friends were
displayed in frames side by side with his art works, and they prove the
artist's private life and his spirit completely stayed in his art.
Morandi transformed the daily life from ordinary to metaphysical level
through subtle and delicate composition of objects as well as simple but
sophisticated arrangement of palette on small canvas. While walking
through the aisle where his works were displayed, I started to realize
the reason why Morandi could be able to persist with his subject matter.
What he was focused on was not the subject matter that was on the
canvas, rather it was far more beyond the canvas. Therefore he doesn't
seem to need making the visual variation. As a result, what we see from
his art, at first, look all the same, but the subtleness of his works
vibrates as the time passed by. I thought what he picked as the subject
matter; the complexion of what he was searching through making the
paintings. What I got was strong impression of his life which completely
dedicated to his art as a specimen of all the artists who are searching
as he was. This makes the phenomenon of synchronizing the art and the
artist himself is something that we all have to think about. The second
reason comes from many of Morandi's flower paintings titled ‘Fiori' (all
the flower paintings titled the same.) Since they are mostly owned by
private collectors- most of them remain anonymous while lending their
paintings to the MET- it was very rare to see them in one place. The
fact that those flower paintings were only created to give out as
presents, according to the descriptions and letters he wrote, the
eccentric feeling from the beauty of ‘Fiori' lingered long in my memory.
The reasons listed above led me to
propose ‘flowers' as the main visual theme of the exhibition. The
flowers in Morandi's paintings are artificial flowers that are still
preserved and displayed at Morandi Art Museum in Bologna, along with
other objects that he used in his still life paintings. Therefore, his
flowers in the paintings are also the one of his still life objects that
he used for the paintings. This satisfies the hypothesis that the
visual theme is flowers and not necessarily flowers at the same time,
and it enables to nullify the symbolism of giving and receiving an
object or an image of flowers. Then why are Morandi's flowers in the
paintings more subtle and elegant than the real flowers? Do the images
that are perceived by our eyes reflect the afterimage of our experience?
Or, do we implicitly distinguish them as the flowers that would never
wilt? Morandi, who once said “ There is nothing more surreal and
abstract than reality itself ,” might have thought so. Maybe he wanted
to accomplish something that transcends human cognition through our
visual system by painting the same subject over and over. This would be
the reason why his works, whose essence remains without flesh, are still
loved by and inspire many artists all over the world. I'd like to share
the experience of a precious opportunity to appreciate Morandi's art
world, that deletes the concept of time and imbues the air of
contemplation in our spirits, as well as to ponder on the “essence or
art”.
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Mr. Webster’s Neighborhood
9/27/2010
From the Visual Research Dept.: Frank Webster and I used to live in the same Brooklyn neighborhood for a while, and I would recognize particular buildings, and typical vistas, mundane or trashy, that every New Yorker is familiar with, in his large paintings. But where I would be slightly annoyed by an overgrown condo high rise going up in real life, baffled yet accustomed to sneakers hanging from overhead wires, and just plain pissed at plastic bags in trees, I would be stunned by the melancholic beauty of Frank’s version of these things.
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Ucross Foundation Group show
9/16/2010
UCROSS FOUNDATION
TWENTY-SEVEN YEARS OF
VISUAL ARTS RESIDENCIES
OCTOBER 1- JANUARY 2, 2011
NICOLAYSEN ART MUSEUM
400 E. Collins Dr. Casper, WY 82601
307-235-5247 www.thenic.org
Opening Reception
for all exhibitions
Friday, October 1, 6:00pm
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Press for Lost Horizon
9/2/2010
"Where Head Shop playfully re-purposes our past, Lost Horizon alludes to a bleaker future. In the center of the room sits a cast resin rock, a sleek token of artist Peter Eide’s trip up a mountain. Like many of the other pieces on display, it feels like a mock artifact plucked from an ebbing landscape. Martin Gruendel offers shaped blue panels resembling shards of sky or “shattered perspective lines,” according to Miller. Equally haunting in their delicacy are Frank Webster’s watercolors of trees and other forested non-sites which, along with Colby Bird’s sagging faux-natural backdrop, resound with stillness. But perhaps most disarming is Jonah Groeneboer’s piece, which quietly hugs the corner and suggests a kind of topography that is both glassy and engineered."
http://www.frieze.com/shows/print_review/summer_camp/
http://dianepernet.typepad.com/diane/2010/08/lost-horizon-and-head-shop-at-exile-gallerys-summer-camp-series.html
http://www.artslant.com/ber/events/show/119732-lost-horizonhead-shop-summer-camp-2010
http://www.sosomagazine.com/soso/Older.html
http://www.thisisexile.com/project_summercampII.html
http://www.jerseycityindependent.com/2010/08/11/artist-and-diy-publisher-billy-miller-curates-european-exhibitions-this-summer/
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Frieze Magazine review of Summer Camp/Lost Horizons
8/17/2010
Frieze
Summer Camp
Exile, Berlin, Germany
by Sam Williams
"Questions about the role of art in a changing world are circling all of this. One possible interpretation is offered by J.G. Ballard: ‘After Freud’s exploration within the psyche it is now the outer world of reality which must be quantified and eroticised’ (Ambit # 36, 1968). So what is art doing when it presents itself in curiosity cabinets of its own design? The lost horizons are not the ideals of the swinging seventies; what’s lost is the horizon itself, disappearing in the sonic boom of a present which is overtaking the future."
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Lost Horizon, Exile, Berlin
7/8/2010
This July and August Exile presents its second annual Summer Camp curated by New York based artist, writer, editor and independent publisher Billy Miller. For this year's SummerCamp Miller curated two simultaneous exhibitions entitled Head Shop and Lost Horizon:
Head Shop is both a nod to legendary ‘60s bohemian boutiques like Granny Takes A Trip, and an evocation of the idea of the mind as a storehouse of images and potentialities.
Artists: Dan Acton, The Agitators, Assume Vivid Astro Focus, Brian Belott, Nina Bovasso, Matt Borruso, Larry Carlson, Ryan Cummings, TM Davy, Michael Economy, Krista Figacz, Janie Geiser, Fritz Haeg, Christian Holstad, Brian Kenny, Paul Kopkau, Steve LaFreniere, Justin Lowe, Noah Lyon, Michael Magnan, Rachel Mason, Glynnis McDaris, Ashleigh Nankivell, Mary Nicholson, Darinka Novitovic, Genesis P. Orridge, Jason Peters, Kevin Regan, Alex Rose, Desi Santiago, Barbara Sullivan, Jan Wandrag, David West, Justin Yockel
Lost Horizon takes its title from the book and film of the same name, and suggests aspects of American Western mythology and “lost” possibilities - ecological, cultural, personal and otherwise.
Artists: D-L Alvarez, Rachel Beach, Michael Bilsborough, Colby Bird, Matthew Burcaw, Kathe Burkhart, Luke Butler, Brendan Carroll, Walt Cassidy, Wayne Coe, Reuben Cox, Pia Dehne, Peter Eide, Carl Ferrero, Jonah Freeman, Janine Gordon, Jonah Groeneboer, Marcus Gruendel, Tina Hejtmanek, Scott Hug, Stephen Irwin, Item Idem + Paul Mpagi Sepuya, Pat Keesey, Lisa Kirk, Lewis Klahr, Martin Kohout, Kristian Kozul, Paul Lee, Peter Maloney, Glynnis McDaris, Dean Sameshima, Florent Tillon, Frank Webster, Ken Warneke
SummerCamp Events
July 17, 7-10pm: SummerCamp Opening at Exile
July 18: Screeing at Wowsville Berlin
July 20: Screeing at Basso Berlin
July 24: Opening White Cubicle Installation, London
July 31, 7-10pm: STH #67 Launch, Exile
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art + architecture show at the gowanus ballroom
6/23/2010
a group show dedicated to the exploration of art, architecture + the body
55 9th street, brooklyn, ny 11215 [in-between smith street & 2nd Ave]
smith + 9th stop on the f + g
opening thurs July 8th, 6pm – 11pm
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Summer Solstice, The Page Bond Gallery, Richmond VA
6/22/2010
SUMMER SOLSTICE: Group Exhibition
Catherine Brooks
Nancy Bruce
Corey Drieth
Amber George
Reni Gower
Sarah Irvin
Julian Jackson
Rosemary Kate Jesionowski
Michael Jones McKean
Gigi Mills
B. Millner
Sarah Rebekah Byrd Mizer
Ruby Palmer
Curtis Ripley
Alyssa Salomon
Tanja Softic
James Stroud
Robert Walz
Frank Webster
Summer Solstice, the annual summer group exhibition, will include painting, photography, sculpture and work on paper by gallery artists.
These works will be at the Page Bond Gallery, 1625 West Main Street with an opening reception honoring the artists, Wednesday, July 7, 2010 from 7 to 9 PM. The exhibition will remain on view through Friday, August 30, 2010.
http://www.pagebondgallery.com/#/future/94
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oh what a world, what a world
5/24/2010
stark urban scenes i've seen a million times somehow become amazingly beautiful and special when isolated in these paintings...
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Madame Le Figaro
4/10/2010
Brooklyn a toujours été le terrain d’inspiration d’artistes et musiciens. Dans sa dernière série de tableaux, Frank Webster explore les relations intimes entre la nature et l’environnement artificiel de cette zone où il fut en résidence, à la Marie Walsh Sharpe Art Foundation (Dumbo). Parfois, le langage urbain se mue en un chant profondément poétique, comme le souligne le compositeur Henri Scars Struck, qui a produit l’album Buffalo Gals: Back to Skool, l’une des plus grandes réussites du slam, avec tous les poètes du spoken word de Brooklyn. C’était il y a plus de dix ans. Quelles surprises nous réservera Brooklyn dans dix ans ?
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Art in America
4/7/2010
New York In pared-down paintings that intersperse nature imagery with urban scenes, 43-year-old, Brooklyn-based artist Frank Webster purveys an ethos of isolation. High-rise buildings and patterns formed by electrical wires, chain-link fences, scraggly vines and tree branches are depicted against wide expanses of bleak grayish skies. Portentously titled “In the Landscape of Extinction,” this exhibition reduced urban existence to these few elements, which are repeated in six large-scale acrylic paintings (either 80 by 60 or 86 by 65 inches), along with two smaller canvases and a series of 12 watercolor and pencil drawings on paper (all works 2009).
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opal nest
3/23/2010
"In the Landscape of Extinction..." images of the opening.
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The Lo-Down
3/11/2010
Another show that closes on Sunday is “In the Landscape of Extinction… ” by artist Frank Webster at Blackston Gallery (29C Ludlow). While the large-scale paintings resemble cityscapes, there are also some nice pencil sketches tucked away in the back room. The larger acrylic pieces have a very photographic feel, which may come from the beautiful sky backgrounds that depict certain, delicately-lit moments.
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Frank Webster a Blackston
2/16/2010
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In The Landscape of Extinction...
2/12/2010
Frank Webster's current paintings at BLACKSTON are of "abstracted architectural structures and natural elements found in urban settings," and are quite interesting and well done.
Frank Webster
In The Landscape Of Extinction
BLACKSTON
29C Ludlow Street
January 21 - February 28
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Frank Webster. artist. Brooklyn.
2/10/2010
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In the Landscape of Extinction...
1/17/2010
In the Landscape of Extinction...
Presented by Blackston
January 21, 2010- February 28, 2010
Reception: January 21, 6:00 pm - 8:00 pm
Email info@blackstongallery.com
Website www.blackstongallery.com
Address 29C Ludlow Street
New York (Lower East Side/Greenwich Village)
NY, 10002
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Solo Exhibition
1/15/2010
FRANK WEBSTER
In the Landscape of Extinction...
January 21st to February 28th, 2010
Reception: Thursday, January 21st, 6 to 8 pm
BLACKSTON
29C Ludlow Street, New York, NY 10002
212.695.8201 blackstongallery.com
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NADA ART FAIR MIAMI BEACH 2009
11/19/2009
See my work at the Blackston booth in Miami.
NEW ART DEALERS ALLIANCE (NADA) ART FAIR
DATES & TIMES
December 3-6, 2009, 2009
The Deauville Beach Resort
6701 Collins Avenue
Miami Beach, FL 33141
Opening Preview by Invitation
Thursday, Dec 3; 10am to 2pm
Open to the Public
Thursday, Dec 3; 2pm to 8pm
Friday, Dec 4; 10am to 8pm
Saturday, Dec 5; 10am to 8pm
Sunday, Dec 6; 10am to 4pm
Admission is free and open to the public
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Tornados in Brooklyn
8/12/2009
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MAY 4 - JULY 31: INTERSECTIONS
6/5/2009
Intersections, curated by Tania Duvergne, explores the convergence of natural and man-made events, from cataclysmic collisions to serene cohabitations. The exhibition features 18 large paintings by artists Patty Cateura, Noah Landfield, Christopher Saunders, Sarah Trigg, Frank Webster. At Seton Hall University School of Law, One Newark Center, Newark, NJ 07102. Free and open to the public, daily 10am - 5pm. Directions.
Tania Duvergne is an independent curator and art consultant based in Rutherford, New Jersey. She has an extensive curatorial resume, including curatorial work at MTA Arts for Transit and Artists Space in New York City, inSITE and the Museum of Contemporary Art in San Diego, CA, and the Hirshhorn Museum and Sculpture Garden in Washington, DC. She received her MFA from the Sorbonne in Paris and her BFA from the School of the Art Institute of Chicago.
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KCLOG: The Marie Walsh Sharpe Open Studios
4/30/2009
The Marie Walsh Sharpe Foundation, one of the most competitive and prestigious free studio space programs in the country, had their open studios last weekend, and I wanted to share some of the highlights.
The focused paintings of Frank Webster appear to capture fleeting moments at the beginning or end of a day. His most recent work has developed the subtle color shifts with careful precision that give the images a quiet, powerful authority. Webster glazes layers of detailed brushstrokes to render the light of the sky against hulking urban structures or delicate pieces of debris caught in the branches of a tree.
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Heart as Arena: Trigger
4/28/2009
The Departure
Sunday, I came across some beautiful and vaguely ominous paintings by Frank Webster when I went to the Marie Walsh Sharpe open studios. Specifically it was the painting with the plane in the sky that got me. It could have just been a plane in the sky or it could have been one of those planes in the sky on that morning. I was thinking that maybe it was a case of me projecting too much into a painting. I was thinking, "When will this even get out of my head?" Then, I saw the photo in the Times from this morning's unannounced flight meanderings over Lower Manhattan. Then I realized, "Oh, right. Never." Turns out the title of the painting is The Departure, which could move in either direction, meaning-wise. Life is weird. Painting is real.
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INTERSECTIONS
4/27/2009
INTERSECTIONS
curated by Tania Duvergne
Seton Hall University Law Building, City without Walls
May 4 – July 31, 2009
“Intersections” at Seton Hall Law from May 4 – July 31, 2009, curated by Tania Duvergne, explores diverse meetings between nature and the man-made–from cataclysmic collisions to serene cohabitations. The exhibition includes large-scale paintings by artists Patty Cateura, Noah Landfield, Christopher Saunders, Sarah Trigg, and Frank Webster. Seton Hall University School of Law, One Newark Center, Newark, NJ 07102. Free and open to the public, daily 10am – 5 pm. Directions.
city without walls
6 Crawford Street
Newark, NJ 07102
ph: 973.622.1188
em: info@cwow.org
fx: 973.622.2941
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Marie Walsh Sharpe Art Foundation Open Studios
4/3/2009
Marie Walsh Sharpe Art Foundation Studios / DUMBO
20 Jay Street, 7th Floor, Suite #720
Brooklyn
COME SEE THE OPEN STUDIOS OF:
Kim Beck, Erik Benson, Michael Paul Britto, Bibi Calderaro, Michelle Carollo, Rob Carter, Cora Cohen, Collette, Franklin Evans, Christopher Gallego, Ezra Johnson, Kakyoung Lee, Katinka Mann, Kristine Moran, Eric Sall, Diane Wah, Frank Webster
RECEPTION: FRI, APRIL 24, 5-9PM
OPEN STUDIOS: SAT & SUN, APRIL 25&26, 2-6PM
SPECIAL EVENT: Alex Katz in conversation with Phong Bui, Saturday April 25, 12-2PM
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This Modern World
7/8/2008
Architecture is the physical space of contemporary social living. Homes, offices, shopping malls, restaurants – we’ve grown up using these spaces, so naturally, artists respond to them. Much like the diversity of built environments, artists bring a variety of interpretations. This Modern World brings together a cross section of architectural representations by mid-career and emerging artists as a means of demonstrating the richness within contemporary life.
Erika Wastrom and Julie Rofman, for example, use buildings as a departure point for abstraction.Wastrom presents exaggerated and impossible spaces, the multiple arms of her structures within the newsroom and gym imagining a kind of use or functionality that doesn’t exist. Likewise, Julie Rofman creates fantastical theme parks and cities completely devoid of people. It is unclear who the potential inhabitants of these spaces are, which only adds to their intrigue.We imagine them to be as strange and beautiful as the landscapes themselves. In contrast to these unfamiliar places, Eric Benson depicts familiar empty office spaces and overpasses. There is an uneasy silence to these buildings, unlike the quiet overpass of a highway, or the rooftops of a developed center depicted by Frank Webster. These spaces are oddly pristine relative to the work of Benson, or Karla Wozniak, whose gritty strip mall paintings, capture an unexpected liveliness within commercial development projects. Often many of the small plots of land these buildings rest on are littered with paper, a phenomenon that manifests itself very differently in urban centers, as the work of Ofer Wolberger documents. In his photographs, all of the spaces seem torn and ragged from use.
Taking another approach, David Kapp and Steven Katz are two of only three artists in the show to depict people using these spaces, Kapp offering an energetic look at life in a metropolis.
Depicting cars racing through streets and highways and buildings towering over these transportation systems, the paint itself takes on the life of the street. Katz, by contrast creates a stiller, photo-realistic representation of street scenes, his painting of the Whitney Museum, a meditation on art itself.
Though aesthetically quite different, the art of Christopher Lowry Johnson and Rob Carter share many affinities with Kapp. Stylistically,Christopher Lowry Johnson has perhaps more in common with the artist than anyone else in the show, both painters using loose brushwork to build an image. The scale, however, varies drastically in both, and where Kapp focuses on the ways people interact and use city structures, Johnson studies the empty space between the viewer and the building. Carter’s connection lies primarily in his depiction of systems of travel, his photographic collages frequently representing European landscapes and buildings, as well as highways and turnpikes. At times the work itself literalizes this implied movement, the gray areas of the photographic collages a documentation of the artist’s movement and manipulation of the different parts of the picture.
Collage by its very nature requires construction of surface, an integral aspect of Cheryl Molinar’s art. Her slow and meticulous working method builds a tension between this process and the movement within many of her pieces. Sarah McKenzie likewise focuses on creating layered work, using paint as a metaphor for built space, the surface actualizing the architectural framework she depicts. Such structures in part represent the suburban American dream, with all its strengths and weaknesses. Interestingly, McKenzie is one of two artists in this show using skeletal frameworks as a representation of dreams. Echo Eggebrecht’s outlines of time machines, homes, and other familiar structures as subject matter, use magic realism as a means of constructing inviting fantasy environments. The paintings seem almost implicitly designed to take the viewer somewhere better.
Much like Eggebrecht, Hannah Kasper and Caroline Allison intuitively capture interior spaces. A lamp shade, a lightly colored wall, an oddly familiar couch and painting – these would-be banal furnishings are all seen as exquisitely beautiful through the lens of Kasper and Allison. Notably, the small size of Allison’s photographs keeps the viewing relationship intimate in the same way that the detailed miniatures of Micki Spiller demand close inspection.The sole sculptures of the show,Spiller’s pieces transform common objects such as books or hat boxes into bedrooms, libraries or living rooms. While the warmth of Spiller’s pieces may draw a viewer closer, Daniel Mirer’s photographs of institutional and commercial spaces seem specifically about their cold grandeur. Photographer David Allee also finds splendor in man-made structures, occasionally placing a lone figure in vast spaces not only for scale, but also as a means of softening the landscape. This sense of space is less important to George Hirose, who focuses less on capturing an overwhelming structure than finding subtly-lit architectural environments. Like the work exhibited by Mirer and Allee, Hirose captures the extraordinary within familiar exterior faces.
Approaches such as this are not uncommon amongst photographers and other art makers, though the level of craft and intellectual and personal investment these artists bring to their work surely is. This Modern World not only represents a cross section of contemporary art making activity, ranging from the fantastical, the banal, and the beautiful, to the exuberant, the spent, and the flat, but also the rich diversity and variation of life that surrounds us.
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Outland Exhibition Views, Bespoke Gallery, New York, NY
3/8/2008
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Village Voice Pick
2/15/2008
These acrylic paintings direct our attention to objects and places we seldom pay any mind: A bone-white bridge abutment is juxtaposed with olive blobs of vegetation; brown, boxy streetlights jut into a wan, horizonless sky. Sunset Park (2007) ostensibly depicts heavy electrical cables spanning an intersection, but let your eyes scan the umber window recesses of an ocher building and suddenly the dark rectangles shift to pure abstraction as they cross the dusky green stripe representing the thick wires. Webster's hodge-podge brushstrokes and tenuous fluctuations of color separate these images from poster graphics, even as they smartly play both the abstract and figurative sides of the street. Bespoke, 547 W 27th, 212-695-8201. Through March 1. — R.C. Baker
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Environ opening
2/13/2008
Pictures from the opening in Nashville
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New York Magazine
2/12/2008
The tree isn't ugly; it's just a little sad...
Art Candy 2/11/08
Artist Frank Webster Paints the Much-Fabled Ugly Tree
We found Frank Webster's desolate postindustrial Americana — muted tones (for the most part), no people, nondescript city blocks, factories, and interstates — to be pretty appropriate for a day like today. Dead Tree seems to be just about as chilly as the rest of us, though the looming red in the distance (presumably a sunset) is a nice reminder of a pending spring. Webster's solo show is up at the Bespoke Gallery through March 1. —Rachel Wolff
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Art Cal Pick
2/6/2008
Outland
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Rymer Gallery — Environ
1/18/2008
ENVIRON
The Rymer Gallery
219 Sixth Avenue North
Nashville, TN 37219
615.752.6030
February 2-28, 2008
opening 6-9 p.m.
ENVIRON
Laurie Hogin
Trever Nicholas
Frank Webster
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Bespoke Gallery — Outland
10/28/2007
Outland, Solo show, January 24th through March 1st
opens January 24th 6-8pm
Bespoke Gallery
547 W. 27th St. 6th floor
Bespoke Gallery is pleased to present Outland, an exhibition of recent large-scale acrylic on canvas paintings by Frank Webster. A reception will be held on Thursday, January 24th from 6 p.m. to 8:00 p.m. This is Webster's second solo exhibition at Bespoke Gallery.
In Outland, Webster's paintings depict the tension between environment and structure in post-industrial American urban landscapes characterized by banality and generality of place. The flatness and muted colors of Webster's paintings at once hint at something ominous and indistinguishable about our geographic surroundings, yet also celebrate the inherent and quiet beauty of commonplace architecture. The painting "Sunset Park" alludes to the merging of the organic and the industrial in the arabesque of electric cables above a road's intersection. In "Dead Tree", a large, stark denuded tree painted in cool blue tones resides at the forefront of the canvas against a backdrop of industrial chimneys. In the distance the warm orange glow of a sun setting imposes a certain element of comfort to the lonely prongs of the tree branches and industrial towers.
Webster's paintings question conventional notions of appeal and attempt to reconcile the inherent conflicts in human decisions in expanding and developing the environment.
Webster's paintings combine elements of minimalism and realism. His work has been referred to as "dark pop" or "strip-mall Morandi." Always grounded in the real, his paintings speak of something transcendent in the everyday world. The unexpected juxtaposition of technology and romanticism speaks eloquently of our current standing in history — and impact on our environment.
Webster lives and works in Brooklyn, NY. Webster received his BFA from the School of the Art Institute of Chicago and his MFA from Mason Gross, Rutgers University. He also attended the Skowhegan School of Painting and Sculpture. Webster is the recipient of numerous awards including the Pollock Krasner and the Golden Foundation Individual Artist Award. In addition to his two solo exhibitions at Bespoke Gallery, Webster has participated in numerous group exhibitions in New York including Sara Meltzer Gallery, John Connelly Presents, Deitch Projects, Lombard Freid Fine Arts and White Columns Gallery.
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Bespoke Gallery
547 West 27th Street, 6th Floor
NY, NY 10001
Tel: 212-695-8201
Fax: 212-695-8202
www.bespokegallery.com
Gallery hours: 11-6 Tues-Sat.
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