#thaddeusmosley

[felixwilson]

Georgia Gate by Thaddeus Mosley

[artsology]

Installation view of Thaddeus Mosley’s exhibition “Recent Sculpture” at Karma Gallery on East 2nd Street in NYC, up through April 22nd. These works are all from 2020-2022, coming from an artist currently 96 years old! Mosley began creating wooden sculptures in the 1950s while working at the United States Postal Service, which enabled him to both provide for his family and develop his art in his free time. Mosley continues his life’s work as an artist in his Pittsburgh studio near the Allegheny River. #sculpture #woodsculpture #thaddeusmosley #karma #karmagallery #artgallery #eastvillage #nyc (at Karma) https://www.instagram.com/p/CqE5ygyM945/?igshid=NGJjMDIxMWI=

[fromwhativeseen]

Thaddeus Mosley at Rockefeller Center #thaddeusmosley #woodsculpture https://www.instagram.com/p/CFGULa_DaXi/?igshid=g3l680erdztt

[artbookdap]

We ❤️ Thaddeus Mosley. This beautiful book from @karmakarma9 says it all.⁠⠀ ⁠⠀ On view through July 24.⁠⠀ ⁠⠀ On Friday, the @nytimes_arts Jillian Steinhauer reviewed the show:⁠⠀ ⁠⠀ “Let me start with a disclaimer: Thaddeus Mosley’s sculptures are not best viewed virtually. Their hand-carved textures, beguiling balance of shape and form, and commanding presence don’t translate to digital images. But images are what we have (for now: art galleries, including Karma, have begun to reopen by appointment). And they give us an opportunity to meditate on his vital work.⁠⠀ ⁠⠀ Mr. Mosley, 93, began teaching himself to carve in the 1950s, inspired by displays of Scandinavian design. He continued while working a day job for the post office. A 1966 solo show at the Carnegie Museum of Art in Pittsburgh led to interest from New York galleries, but he 'told them no,' he explained in an interview. Mr. Mosley has spent his life and career rooted in Pittsburgh and the surrounding area, where he sources the wood for his art.⁠⠀ ⁠⠀ The exhibition, online as well as at Karma’s two locations, features 23 sculptures that both embrace and transcend their material. Taken as a whole, the most populous display looks like a forest, with the works’ grooves and marks recalling tree bark. Upon closer study, each one unfolds as a complex assembly of interlocking pieces, which sometimes, as in 'Inclination' (2003), seem to defy gravity. Forms emerge — a gun in 'Propelled Simulation' (2001), a pair of figures facing off in 'Geometric Plateau' (2014) — remain suggested more than definitive. Mr. Mosley creates objects that feel natural yet mysterious, like handmade totems embedded with metaphysical knowledge."⁠⠀ ⁠⠀ #ThaddeusMosley @jilnotjill @karmabookstore https://www.instagram.com/p/CCZSWYZpytY/?igshid=18hyfhzfrrmnm

[artbookdap]

Congrats @karmakarma9 !!! #Repost @karmakarma9 ・・・ Our Thaddeus Mosley show reviewed in today’s New York Times by Jillian Steinhauer. We are open by appointment, so please reach out to see the show. A virtual tour is also available on our website. #ThaddeusMosley “Let me start with a disclaimer: Thaddeus Mosley’s sculptures are not best viewed virtually. Their hand-carved textures, beguiling balance of shape and form, and commanding presence don’t translate to digital images. But images are what we have (for now: art galleries, including Karma, have begun to reopen by appointment). And they give us an opportunity to meditate on his vital work. Mr. Mosley, 93, began teaching himself to carve in the 1950s, inspired by displays of Scandinavian design. He continued while working a day job for the post office. A 1966 solo show at the Carnegie Museum of Art in Pittsburgh led to interest from New York galleries, but he “told them no,” he explained in an interview. Mr. Mosley has spent his life and career rooted in Pittsburgh and the surrounding area, where he sources the wood for his art. The exhibition, online as well as at Karma’s two locations, features 23 sculptures that both embrace and transcend their material. Taken as a whole, the most populous display looks like a forest, with the works’ grooves and marks recalling tree bark. Upon closer study, each one unfolds as a complex assembly of interlocking pieces, which sometimes, as in “Inclination” (2003), seem to defy gravity. Forms emerge — a gun in “Propelled Simulation” (2001), a pair of figures facing off in “Geometric Plateau” (2014) — remain suggested more than definitive. Mr. Mosley creates objects that feel natural yet mysterious, like handmade totems embedded with metaphysical knowledge. -Jillian Steinhauer https://www.instagram.com/p/CCORc6-J_ht/?igshid=mh2f5vo9pwnp

[gerardbillet]

FIAC : Marley Freeman : Still Waiting, Thaddeus Mosley : Masked Extension, Haegue Yang : Sonic Crescent Moon Medium Light, Mark Dickenson : Liz Craft, Candelice Brazelton, Laure Lamiel : Forclose 3, Ariana Papademetropoulos, Andreas Lolis, Takis : Magnetic Erotic, #fiac #fiac2019 #marleyfreeman #stillwaiting #thaddeusmosley #haegueyang #karma #dependancegallery #markdickenson #lizcraft #neuealtebrücke #cudelicebrazelton #instapic #photooftheday #parismaville. (à FIAC) https://www.instagram.com/p/B35OvTtihf2/?igshid=etwi3arl5pbf