"BOTH ONE AND ANOTHER" | JURIED SHOW 2015 | Juried by Jaclyn Conley | Jury of Awards - Ann Temkin
CONGRATULATIONS TO BECKY ROSEN, WINNER OF THE JURIED SHOW!
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GALLERY DISCUSSION, Friday, August 21, 6pm
Join panelists Gilles Giuntini, Stephen Kobasa and moderator Judith McElhone, Executive Director, Five Points Gallery, for a public discussion on juried exhibition practices. |
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About the Curators
Jaclyn Conley is an artist and educator based in New Haven , CT. She has exhibited nationally and internationally at venues including The Painting Center in NY, NurtureArt in NY, Projective City in Paris, and the Aldrich Contemporary Art Museum in Ridgefield CT. Jaclyn is currently an Assistant Professor at the University of Hartford’s Hartford Art School. |
Ann Temkin is a noted scholar of modern and contemporary art and is currently the Marie-Josee and Henry Kravis Chief Curator of Painting and Sculpture for the Museum of Modern Art in New York. Previously Temkin was the Muriel and Philip Berman Curator of Modern and Contemporary Art at the Philadelphia Museum of Art.
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About placement of the artwork in the gallery:
A work is singular but also exists, and is influenced by its context. Five Points Gallery’s first Juried Exhibition translates that quite literally, juxtaposing one artist’s work with another through physical proximity. Pairings were chosen to contrast different aesthetic and conceptual approaches in order to expand a narrative, reinforce an effect of color or scale or alter our perception of a seemingly nonobjective work. |
Group shows present an opportunity to expand a work, reaffirm characteristics that the artist has put forth or, perhaps more interestingly, direct the viewer in a way other than the artist’s intent. A work changes based on what’s next to it, reaffirming the life of an artwork as both idea and form. From here the conversations get interesting. ~ Jaclyn Conley |
About the artists:
Twenty-four finalists were selected by Juror Jaclyn Conley from 355 submissions and over 1,000 images, which represented 32 states and Canada.
Twenty-four finalists were selected by Juror Jaclyn Conley from 355 submissions and over 1,000 images, which represented 32 states and Canada.
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Jennifer Amadeo-Holl
The Possibles series uses the medium of small scale painting to examine the complementarity of abstraction and representation, the familiarity and strangeness inherent to both, the maximum degree of complexity the brain can process in a single glance, and the potential for simple shapes to trigger memories and emotions. Their first impression may have an element of simplicity, as when one recognizes a friend from far away by the distinctness of their shape alone, and one’s initial impression, uncompounded, is, “ah, that is X,” and then comes the trickle of reflections, leading to thoughts no longer simple. So that to look again at X on the horizon, or to look again at the painting on the wall, would be to feel that while we may have only glimpsed a bit of matter, a shadow of something, we have also visited a place where image and energy alternately fuse and divide. My project has been to use the essentials to explore the possibles. |
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Andrew Baris
My passion for photography began when I was a child. Photographing everything and anything digitally for many years. Once I was introduced to film my artistic horizons expanded. I love the process and the time that it takes to complete it; developing film, working in the darkroom, making silver prints and large digital inkjet prints. At a time when we are connected to others in most aspects of our lives via social media we have ironically become disconnected. Physical media is fading due to a reliance on digital media. Working with film has been a way for me to slow down, reconnect with my subjects and subject matter, and immerse myself in the process. |
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Chris Barnard
In my work, I wrestle with the politics of landscape painting. Currently I am focusing on the relationship between romantic representations of the “American” landscape and the ideologies that have long fueled U.S. imperialism and violence. |
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Andrew Baron
My work is decidedly impure. It’s abstract, but it’s narrative as well. There is a story (if cryptic) being told with each painting. The titles of my work point to this: “Happy Hour”, “Bag”, et al. which are really paintings about drinking, anger, depression, and commuting on trains. I don’t make paintings that transcend my life in as much as they embody it, distill it - embrace it. They are the paintings that I needed to make. |
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Ashleigh Bartlett
Ashleigh Bartlett is a practicing artist working in painting, drawing and collage. Recent exhibitions include, "Future Station: 2015 Alberta Biennial of Contemporary Art" at the University of Alberta Musuems (Enterprise Square Gallery), and "Pinwheel" at Paul Kuhn Gallery. Her work has been included in the collection of The Ministry of Foreign Affairs and she is the recipient of awards from the Social Sciences and Humanities Research Council and The Alberta Foundation for the Arts. In 2014, she was a finalist in the 16th annual RBC Canadian Painting Competition. She currently lives and works in Boston, Massachusetts. |
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Ecka Blaire Faulds
Reacting to the weight of memory my work observes the delicate relationship between figure and environment. By depicting moments of interaction or ignorance of the figure to its surroundings, I aim to bring to light our own complicated relationships with nature. |
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Emily Cappa
I create fine art within everyday living. Since February 2008 I have been documenting my movements by creating a drawn shape that corresponds to (or “plots”) my geographical inhabitances in order to commemorate the day. The series is titled Every Destination in One Day Connected From Each Location in Consecutive Order. As a result, I have become keenly conscious of my actions and the aesthetic impact every movement has on the day's final drawing. My natural objective is to coordinate my daily schedule in a way that allows me to create the most attractive shape possible each day. There are days, however, when I will lose primary control over the outcome, but I always attempt to compensate later on by eliminating or adding places to inhabit during the day. The results are visual records and keepsakes of ritual and movement. |
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Nancy Daubenspeck
I work with numerous layers of color fields, soft floating suggestive shapes, a calligraphic/percussive X and a pattern of points in a grid formation. The paint is hand mixed from dry pigment and casein and brushed on muslin stretched over wooden panels. The work is meditative and intimate and is very much an outgrowth of the medium and craft. It is spare, not minimal and there is an object like quality to the paintings. While I am not a landscape painter, I live in a very solitary valley by a river in the Berkshires so the natural world is ever present for me and I study the light, the earth, the water and the sky -day and night. |
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Lindsay Deifik
My basic questions are: What social and political apparatuses are at work inside of us that separate the natural from the cultivated? and in what ways do they make themselves known in our behaviors and perspectives? Through the use of the Landscape Photograph, I call to the fore the natural (or the naturalized). These photographs are contrasted by fields of urban demarcation patterning, such as images of window grates and wall surfaces. All are digitally printed on silks, satins, and velvets, creating not only a lightness, but also a sensuous tactile element. Many are then "branded", using silk-screened fiber etching to literally burn out a graphic form that calls upon both a mask and a traffic sign simultaneously. These burned sections create ghost images or free-floating sections within each field where something uncanny hovers. Principally, I am engaged in breaking down facades and rebuilding them into largely intangible, de-historicized, yet enigmatically recognizable instances. |
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Rick Dessino
My perspective as an artist was shaped through my upbringing in Atlantic City, New Jersey, a resort casino town on the Atlantic Ocean. Atlantic City was founded as a fantasy and as such, is constantly reinventing itself, consuming its short but storied history for the escapism found in its casino towers. Because many of the buildings I grew up with were demolished without consideration of preservation, I grew strangely attached to the ideas of permanence and re-purposing of art and architecture and their relationship to history. |
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Jessica Fallis
In these works I explore the nuances of water and reflections, and capture the fragmentations and abstractions that occur in the natural world. Within these paintings I examine how water and reflections can suggest the way in which our perception of space can shift within a given format. The often disorienting effect reflections can cause challenges us to reconsider what we are seeing, a reorientation that forces us to focus and pause, to really look and observe nature. I am also interested in ecological issues concerning climate change, specifically those related to water. The fracturing of space within these paintings is suggestive of our uncertain relationship with the landscape, and the consequences of certain human actions on our disappearing environment. |
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Erin Fitzpatrick
I make paintings that entice the viewer with decorative, visual overload. My paintings are full of layered patterns and textiles, items I have collected and sought out for each piece, and models who are dressed to vibrate within their environments. While the figure creates a point of interest, I am not concerned with the portrait as the depiction of a specific individual. The figure, like the setting that I have built, is merely a catalyst for the exploration of formal aspects of painting, line, shape, color, pattern, composition, and brushstroke. |
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Kevin Hernandez
I am interested in the opportunity for mundane phenomenological situations to activate a succession of sharp deliberations in the mind of a patient and willing viewer. Much of my work deals with the severe and raw nature of marginal phenomena. These understated situations are generative, darkly humorous, filled with pathos, and, for me, reveal a lot about the nature of the ?real world.? Everywhere I go I seem to quickly pick-up on what is off-kilter; I use art as a space to revel in the formal qualities of off-ness and otherness. |
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Rick Lacey
My paintings are simple images, figures are often placed in the center of the composition. I work to create a solid sense of form. I want to allow the viewer believe in the figure, while always being reminded that painting is just colored mud on cotton or wood. |
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Andrew Martin
Most of my current works are images of communication towers in the landscape, painted or drawn on networks of interchangeable surfaces such as these small, identical pieces of plywood shaped to resemble tablet computers, smart phones, or flat-screen televisions. As the easily ignored physical underpinnings for our systems of capturing, disassembling, transmitting, and reassembling information, the towers’ quiet but insistent vertical interruptions punctuate the long horizons where I live in West Texas and in this series become the implied subject/object of the system itself. |
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Carmelo Midili
My work are three dimensional pieces made with discarded painting on canvas panel that I have been collected from art school dumpsters in NYC for the last 6 years. I create a supporting structure from wood and gives the pieces their ultimate form by cutting and shaping discarded painting on canvas panels and gluing them together. |
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Jason Mones
What new colors in the prism of our imagination can bring light to the somber questions of today?s conscience? In my work, various themes of American masculinity are used to create a series of fumbling and occasionally violent narratives. Men take center stage as provocateurs of chaos, instigating humiliating and occasionally aggressive conflicts, both large and small. Using a method of synthetic painting derived from the imagination, each work plays with the associations of form, color, and referent to bring tragicomedy to uncomfortable places. |
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Juan J. Moreno
I have departed from representational subject matter and executed my work focusing on color and composition. The works are abstract, with no intended meaning on my part. Seeking to explore the dynamics of color and the illusion of space within the limited two-dimensional canvas, I invite the viewer to interpret the work and become part of the creative process. I often revisit my paintings, modifying them as I see the need to make changes. Some of my works have been reworked over a period of five to ten years until I feel a piece is finished. |
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Becky Rosen – Winner of Juried Show!
The average person on their morning commute is often so focused on their workday and planning future events that he or she is not aware of nor appreciates the conventional and unconventional beauty around them. I am fascinated by parts of the world that go unnoticed by this average person. I photograph cracks in sidewalks, rusting metal in subways, and deteriorating posters as source imagery for my work. Enlarging these spaces and painting them in unconventional colors encourages viewers to consider looking at the world around them with new vigor. I am just as intrigued by interior familial spaces; a parallel body of work is about my childhood home. I use a chance operations method to source colors for paintings on papers and raw fabrics. The randomized process allows me to find colors I would not ordinarily see in these familiar spaces; I am often directed to the subtle differences in how light affects the coloring of fabric and walls in a room. |
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Ben Rosencrans
I create work that spans a wide range of scales and materials. It can take the form of both small and large-scale drawings, as well as utilizing the genre of installation-based work. The small-scale drawings are a more intimate process that allow me to maintain a traditional studio practice while the larger scale drawings, sculptures, and installations help balance my studio time with a conceptual and theoretical practice which centers around writing, sketches, and scale models of spaces. The images created start to question the function of the picture plane which contain both a real, observable space often made of a tangled ganglia of lines mixed with geometric and organic shapes and a more metaphorical space that is neither rational nor objective. |
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Simone Schiffmacher
The placement of logo suggests product to the abstracted patterns, making the logo the key element to understanding the object. While the logo alters the read of the object, one attempts to reform the pattern into its three dimensional form. Through the confusing of the object one becomes frustrated with the inability to reform the object pointing to the intangibility of the product. This intangibility becomes reinforced with the placement of logo speaking about the identity that surrounds logo and its intangible form. |
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Kate Shannon
These images were created in environments where crowds gather to experience a series of happy moments, such as amusement parks or carnivals. By digitally removing the background elements from the original photographs, I visually isolate adults, teenagers, and children in transition between these moments. Although they gaze toward a prize to win, a thrill to experience, or a concession stand to visit, these individuals are stripped of their spectacular surroundings and become solitary subjects to contemplate. |
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Sarah Tortora
My current work consists of fabricated sculptures and structures that are in-between. Containing references to architecture, art history, furniture, utilitarian fixtures, and mechanisms of display, my sculptures flirt with resemblance or promise performativity, but remain amalgams whose function lies in a perpetually frustrated construction of meaning. These works are sites for projection, as facsimiles of archetypal objects and icons, or blank signs that reveal the structure of their own presentation. |
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Mark Williams
My work is based on cave interiors, especially the formations of flowstones, stalactites, and stalagmites. The earliest known drawings over 30,000 years old are found in caves. Humans have been drawn to caves for a very long time, and I am no exception. During the past fourteen years, I have visited more than 80 caves and photographed the environments. The artwork is inspired by these images. |
