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art blog(derogatory)
tannertan36
Janaina Medeiros
#extradirty
Cosmic Funnies
PUT YOUR BEARD IN MY MOUTH
Three Goblin Art
roma★
祝日 / Permanent Vacation
Xuebing Du
noise dept.
shark vs the universe
Aqua Utopia｜海の底で記憶を紡ぐ
🪼
he wasn't even looking at me and he found me
Peter Solarz
DEAR READER
occasionally subtle
h
seen from Netherlands
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@brianmorrisgallery-blog
A great discussion with the artists of Cuts Noon Light last night here at BMG! Such a great turnout that we held the talk in our Brian Morris/Buddy Warren space! Thanks to all for joining in! Cuts Noon Light: Extended through July 26th #CutsNoonLight #AndrewGinzel #KaraRooney #SteelStillman #brianmorrisgallery #artisttalk (at Buddy Warren Inc)
Many congrats to @c_michael_norton for his review in @aianews today! We'll be staying open until 1030 tonight, too. Come by, check out the exhibition, listen to good tunes, maybe play some chess, and hang with the BMG gang. #brianmorrisgallery #buddywarreninc #cmichaelnorton #artinamerica (at Buddy Warren Inc)
#Repost @visionaireworld with @repostapp. ・・・ The universe is expanding, and as it does our understanding of the universe expands with it. "Cuts Noon Light" is Brian Morris Gallery’s new exhibition showcasing work by Andrew Ginzel, Kara Rooney, and Steel Stillman. The exhibition invites us to reflect on all that we understand in the world around us as well as all the things that are unknowable. This image is by Chicago born artist Andrew Ginzel. Ginzel makes challenging collage constructions and this image titled Cataclysm, is the perfect example of his drawing and collage style. This piece is made using mixed media techniques combining maps, photographs, mirrors, gold leaf, and bits of ancient text. The result aims to represent the originator of thoughts and ideas, whoever that may be to each viewer. The mirrors reflect the observer showing that they are just a twinkle in his or her eye. Ginzels work has a fundamental sense of wonder, addressing the perception of time and space. The natural world motivates his to construct contemplative work aimed at magnifying a sense of place and presence in all of us. "Cuts Noon Light" starts today May 21, 2015 and will run till June 20, 2015 at the Brian Morris Gallery. @BrianMorrisGallery #visionaireworld #BrianMorrisGallery #AndrewGinzel #KaraRooney #SteelStillman. (at Brian Morris Gallery)
Why did the chicken cross the road? To come see her chicks on Chrystie Street in the BMG Project Space show, of course. Come by! Check out these and other grid constructions by Laurene Krasny Brown in "Sanctuary of the Square," open now. #brianmorrisgallery (at Brian Morris Gallery)
Last one from On The Money, still up till May 17! Suzanne Joelson Blue Slip and Spin 2014 (at Brian Morris Gallery)
Triple treat! We've got @c_michael_norton , Xoxo, and Ishtar in the gallery today! (at Buddy Warren NYC)
Installation for C. Michael Norton: The Wolf I Feed is underway! Opening this Thursday at 171 Chrystie Street. (at Brian Morris Gallery)
This Jenna Pirello painting is so 'On the Money'. It's called 'Maneater', so don't mess around with Jenna, boys. Come by and take in the abundance of awesome details during our exhibition 'On the Money', up till May 17 at 163 Chrystie. #brianmorrisgallery #jennapirello (at Brian Morris Gallery)
Something wonderful occurs when you gaze upon the delicate graphite line work of Alison Hall, but come see for yourself. Also from 'On the Money': Alison Hall x, for JK. , 2015 Oil, graphite, Venetian plaster on panel 27.5 x 22in #alisonhall #brianmorrisgallery (at Brian Morris Gallery)
“untitled”, 2013, oil on panel, 10x12″ (image courtesy of the artist)
1.Name:
Brian Cypher
2.Occupation(s):
Parent, artist, day job
3.Where are you from and what is your education?
I’m originally from Yuma, Arizona then into Southern California and finally settled into the Pacific...
From 'On The Money' now on view at BMG 163 Chrystie: L: David Rhodes, Untitled, 2015, acrylic on raw canvas, 72 x 42 in R: Zachary Keeting, September (3), 2012, acrylic on canvas, 54 x 97 in #brianmorrisgallery #davidrhodes #zacharykeeting #onthemoney (at Brian Morris Gallery)
Last day of Fall on Your Bliss here at 163 Chrystie. Come on down before 6 pm to check out these 2 Farrell Brickhouse's, plus a ton more great paintings. L: Double Dutch II, 2014, oil on canvas, 18x24in R: Birdwatcher, 2014, oil, glitter on canvas and wood construction #farrellbrickhouse #brianmorrisgallery (at Brian Morris Gallery)
Thanks to all for coming to see Fall On Your Bliss. Last chance to see is tomorrow! Here is a mask by Darragh Rooney constructed with the best list of materials we've seen in a while : Hand Carved pine, oil and acrylic stain, polyurethane, deer vertebrae, iPhone charger, cannabis sativa root ball and stem, bead, feather, psilocybin cubensis, glass vial, strong, wax #darraghrooney #brianmorrisgallery (at Brian Morris Gallery)
Getting very close, very personal with Fabian Marcaccio's 'Zombie' paintant (that's painting + mutant) on view at 171 Chrystie Those rotting teeth and gaping wounds look good enough to eat, don't they? Zombie (detail), 2015, 74 x 61 x 7 in, hand woven Manila rope, climbing rope, alkyd paint, silicone, wood, 3D printed plastic #fabianmarcaccio #brianmorrisgallery
Repost @artforum ・・・ Wayne Koestenbaum, Lunar Bacchanal, 2014, oil, Flashe, acrylic, and acrylic marker on canvas, in “True Believers” at Brian Morris Gallery January 22 – February 21 (at Brian Morris Gallery)
Freak Flag flies one last time today, until 5pm at 29 east 32nd! Pictured here are works by Ann Shostrom, Jim Clark, Marthe Keller, Kim Uchiyama, plus the reflection of a Craig Fisher in the mirror. #brianmorrisgallery #freakflag (at Brian Morris Gallery)
CURATOR Q&A : Kim Uchiyama for BMG Midtown's FREAK FLAG
BMG: FREAK FLAG marks your second curatorial project at Brian Morris Gallery. Your first, one year ago, was PHYSICAL PROPERTY.
How are these works “freak flags” and how did you come up with that concept for the show? Did the space itself impact your choices for the show?
KU: A flag is often a rectangle of fabric that uses symmetrical two-dimensional design. A flag elevates itself beyond its material – it’s organized in such a way that it communicates with the viewer on a symbolic level. Because of this, it shares certain obvious qualities with painting.
The original idea for the exhibit was to explore aspects of sign and symbol in painting, by means of paint, fabric, collage, photography. Painters that often worked on a large scale - such as Stephen Westfall, Marthe Keller and Ann Shostrom – were good starting points. Al Loving’s work embodied the collective spirit of everyone’s endeavors. You could say they were all Flagrantly Flying Flags! The concept for the exhibit became further expanded by the inclusion of James Clark’s hanging light sculpture, which acts as the show’s centerpiece, both physically and psychically.
Brian Morris Midtown’s gallery is an immensely unusual and provocative setting, rich with history: a former home to the Grolier Club, a disco at one time, a Persian carpet warehouse in its most recent incarnation, with eighteen foot ceilings, wood paneling, even a fireplace, housed in a 19th century landmark building. I immediately thought of cavernous hunting lodges, hung with tapestries and banners, where people would gather in looming, darkened interiors and commune with their distinctive surroundings – a specific kind of experience, one where the works could actually work with each other to distinguish themselves.
BMG: The show is very inter-generational. Was that important for you when you started thinking about the show?
KU: Al Loving would have been the oldest artist in the exhibit. He died in 2005. Noah Post, in his thirties, is the youngest artist I’ve included. I like the idea that people of different ages and diverse backgrounds can arrive at profound communication via abstraction. I think there’s something universal – and unifying – about sharing in the development of visual language. It’s important to know about those artists who were here before we were, and who inspired us - who still survive along with us because of what they contributed. It’s also great to know that there are younger artists, equally inspired, who will carry on this lineage.
BMG: How do you hope the show impacts those who come to see it?
KU:The idea of FREAK FLAG – letting your Freak Flag fly – is a metaphor for expression raised high, continuously expanding and really reaching for it! It would be great if the show can uplift and encourage community, as well as bedazzle the senses.
Kim Uchiyama, Light Study #28, 2014, Oil on Canvas, 48 x 40 in.
FREAK FLAG will be on view until January 11th.
