April 27-May 13, 2017
featuring: Furen Dai, Nina Earley, Diana Jean Puglisi
Intangible Threads brings together the work of three artists whose mixed-media practices incorporate sewing as a means for the preservation of memory. “Carrying a thread” describes continuity from one idea or passage to the next. Here, we look at this phrase literally and metaphorically, as sewing both fuses parts into a whole, and acts as a tool for maintaining and cultivating tradition. For example, making clothing, quilts, and shelter with needle, thread, and hide or cloth, are historical and monumental ways through which sewing has provided the fabric for settled society. Physically, the in and out pattern of simple stitching repeats as it moves forward, thus referencing its past with each new mark. In this exhibition, Furen Dai, Nina Earley, and Diana Jean Puglisi utilize thread in combination with ceramic, paper, photographic processes, and fiber, in manners that propagate history; both personal, and cultural.
May 18-June 10, 2017
featuring: Stephanie Todhunter
Neon pinks, blues and yellows; lace-like patterns, stickers, metallic leaf, wax, ripped paper and sharpies embellish a band of lost girls. The deeply mysterious mixed media works of Stephanie Todhunter remark on the unique “latchkey kid” experience with sensitivity.
In Lost Girls, Todhunter explores the predominant dichotomies of identity among “Generation X” children. Described as one of the least nurtured generations in recent U.S. History, the “latchkey kids” of the late 1970s and early 80s were expected to be self-reliant, yet remained subject to the vagaries of the adults around them. Todhunter’s dynamic and layered approach to portraiture addresses these issues of simultaneous individuality and homogeneity, invisibility and vulnerability.
Myths & Valor
June 15-July15, 2017
featuring: John Buron, Keith MacLelland, Bill Porter
Myths and Valor explores components of American nostalgia through objects, icons, and stories. Through their displacement or alteration, artists John Buron, Keith MacLelland, and Bill Porter reconsider these components for a fluid contemporary era in which anything seems possible, whether for better or for worse.
One view of mid-20th century America is a golden perception; of contentment, consumerism, and conformism. It was indeed a “booming” time period, the birth of “classic” American visual culture, and a bright, naive dawn that many modes of media ask us to harken back to. In Myths and Valor, John Buron, Keith MacLelland, and Bill Porter examine these origins, question the validity of memory, and address such romanticism with this bygone era. Photographic memorabilia, familiar household fragments, classic comics, and Hollywood icons are stable and reassuring; they remind us of home, childhood, and help us to feel protected. Exploring the nuances and sometimes dark humor behind these remnants, Buron, MacLelland and Porter gently probe us to reflect on the past critically.
Seen from the Anthropocene
October 24-November 12, 2017
featuring: Wiley Aker, Christopher Blyth, Sam Horowitz, Coalfather Industries (Kara Jansson and Craig Newsom), Sarah Langsam, Micheal James Murray, Aleksandar Popovic, Kate Rusek
Seen from the Anthropocene embarks on a conversation about the effects of global warming on our planet, and considers human activity the catalyst for the process. Using painting, encaustic, photography, video, wood, and post-consumer material, nine artists comment on a landscape that has been so altered by mankind it has been dubbed The Anthropocene by geologists; “anthropo” for “man,” and “cene” meaning “new.” Investigating the dichotomy of dependence and abuse between humans and nature, stoked by scientific research, and inspired by the resulting emotions, Seen from the Anthropocene reflects real and imagined versions of our world, both optimistic and heartbreaking. Also incorporated into this exhibition is the recognition and disbelief that hard facts can be fluid, and even debated, in today’s world. Wiley Aker, Christopher Blyth, Sam Horowitz, Coalfather Industries (Kara Jansson and Craig Newsom), Sarah Langsam, Michael James Murray, Aleksandar Popovic, and Kate Rusek explore feelings of helplessness, anxiety, and sadness, but also portray hope in their work. With landscapes that are informed by the present, they depict possibilities of a not-so-distant future.