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Daniel Albrigo No

Oil on canvas 14 x 11 inches

In Bit Rot, Fri-Sun 1-6 PM, through May 6.

#daniel albrigo #bit rot #galerie manque #56 Bogart #Bushwick Galleries

Opening of small, 6/8/18. Featuring work by Daniel Albrigo, Matt Damhave, Claire Jervert, Roman Kalinovski, Kim Pterodactyl, Erin M. Riley, Emma Stern, B. Thom Stevenson, Lane Twitchell and Chris Zitelli.

#daniel albrigo #MATT DAMHAVE #claire jervert #roman kalinovski #kim pterodactyl #erin m riley #emma stern #B. Thom Stevenson #lane twitchell #chris zitelli #galerie manque #56 Bogart #Bushwick Galleries #small

Daniel Albrigo Cops Racing Team

Oil on canvas 14 x 11 inches

In small, Fri-Sun 1-6 PM, through June 24.

#daniel albrigo #galerie manque #56 Bogart #Bushwick Galleries #small

Opening Friday, June 8: small

Opening reception: June 8, 6-9 p.m. Exhibition continues through June 24.

Daniel Albrigo Army Surplus

Oil on canvas 14 x 11 inches

#daniel albrigo #galerie manque #56 Bogart #Bushwick Galleries #small

small

June 8 – 24, 2018

Galerie Manqué presents small, a show of small works by ten artists, most of whom have shown previously with the gallery. Frequently, summer small-works group shows can be considered analogous to “summer reading”: lightweight, breezy, undemanding. However, we don’t know how to do a show like that.

Claire Jervert’s tiny, meticulously drawn depiction of a predator drone is placed high on an otherwise blank sheet of paper, suggesting a vast expanse of sky, beneath which lie the drone’s unseen targets. The dimensions and format of B. Thom Stevenson’s paintings call to mind bumper stickers but contain texts that seem both topical and enigmatic. Roman Kalinovski’s paintings portray moments from the films of the Japanese adult video star Minori Aoi, their ostensible intimacy undercut by both Kalinovski’s smoothly distanced paint handling and the years that separate our time from the long-retired AV idol. Seen from a slight distance, Daniel Albrigo’s paintings seem to effortlessly resolve into powerfully photographic images, while their subject matter features a kind of quotidian weirdness frequently seen in photos posted to social media. Emma Stern’s oil-on-canvas image of a woman in profile, gazing skyward and lit by a kind of Caravaggesque raking light, combines an impressive command of traditional painting techniques with a skillful use of the application Cinema 4D, with which Stern originally created the image of the woman.

The tapestry by Erin M. Riley features an overturned “diva cup” alongside a pool of its previous contents, the image’s compositional resemblance to a traditional still-life implying the everyday reality of menstruation as a part of life. The images that come together in Matt Damhave’s work sometimes span centuries, suggesting our ability to access any previous era via technology, while a hand-painted, obsessive network of dots paradoxically brings to mind traditional handicraft. Kim Pterodactyl’s labor-intensive embroidered pieces bring together images from popular culture in unexpected and almost surreal combinations, evoking both our inundation by and random encounters with these images. The unsettling, trippy, lacelike structures in Lane Twitchell’s cut-vinyl pieces contain fragments of the source images from which they were constructed and simultaneously seem the product of, and an invitation to, a meditative state. Chris Zitelli’s drawings appear to be carefully observed, minutely detailed studies from nature, but in fact are faithfully rendered depictions of CGI, created by the now-antiquated program Bryce, and include Bryce’s less-than-successful attempts at producing reflections in water and patterns on stones.

The exhibition was organized by gallery curator George Metesky.