Barney Savage Gallery


November 24 – December 22, 2018

For Immediate Release.

Barney Savage Gallery is pleased to present our Autumn Invitational exhibition, featuring a selection of artworks by contemporary artists who work in a variety of new, as well as traditional media. Each has shown a significant voice that resonates within a visually compelling and relevant approach to contemporary studio practice.

Featuring artwork by

Julia Bland
Mark Dorf
Langdon Graves
Angela Heisch
Shane Hope
Olivia Locher
Lucy Mink
Jenny Morgan
Bret Slater
Kelly Worman
Tim Zercie

Julia Bland draws from mystic traditions and philosophies to guide her own visionary language through the use of threads and fibers. The artist skillfully layers woven, stitched, twisted, knotted, dyed and painted material into tapestry-like hybrid compositions while engaging with the infinite symmetry of expanding history and evolving tactile discovery.
Mark Dorf’s practice employs a mixture of photography, video, digital media, and sculpture. In his most recent work, Dorf explores the human perception of digitally simulated domains, urban and architectural environments and the “Natural Landscape”. With an interest in post-anthropocentric and new materialist theory, he scrutinizes and examines the influence of the information age in order to understand our curious position within a 21st century world.
Langdon Graves combines American familial storytelling and occult history. She subverts reality through the creation of seductively hermetic installation spaces, domestically adorned with intricately created drawings and curious sculptural components, that combine the seemingly ordinary with the occult. The uncanny experiences passed on through matriarchal stories and interpretations drive the artist’s examination of anecdotal history, while her creation of decorated spaces reinterpret that bridge between rooted belief and the supernatural.
Angela Heisch orchestrates images on an intimate scale, often using symmetry as a structural approach to intentional abstraction. Her paintings, seemingly drawing focused differ from her pencil on paper pieces exhibited in this show. There are hints of objective form and even facial elements within the balanced arrangement. These pieces stand out from the artist’s usual practice giving them a more iconic presence, to better understand the clever visual puzzle of planes and patterns that the artist elegantly demonstrates.
Shane Hope uses modeling software to custom code generative molecular designs and algorithmically automate alternative representations of nano-scaled structures. Hope hand built a selection of RepRaps (3D printers) through which he prints his advanced nanomolecular models. He collages thousands of these 2D rendered and 3D printed models into extraordinary painterly compositions that depict things that are at the same time organic, inorganic, or completely nonsensical.
Olivia Locher is lovingly viewed as an artist prankster due to her guerilla pop-ups displaying brightly colored photos of staged models reminiscent of fashion advertising while subverting with Warhol-esque humor. Through the clever poses of the models and placement of objects they interact with the viewer is lead to the perfect execution of the artist's visual humor and wit.
Lucy Mink’s oil paintings spring forth at one moment with visual poetry and elegant brush strokes, creating movement and guidance for the eye, while then retreating into intimacy. The corners of inviting shapes and terrains play on figure ground relationships that are cloaked with patterns and motifs, reminiscent of American quilts. Her newest work using hand made pigments have a lighter transparency and a warmer palette evocative of watercolors.
Jenny Morgan selects specific color combinations to layer an added picture plane over the illustrative figure models she paints. Although not directly referencing anything specific, her colors make a connection with the heart, nature and healing. They appear to pass over the subject, who is separated from direct observation, like a powdery shadow scanning across a soft landscape.
Bret Slater paints from a gut instinct. His intention is to seek resolve, while leaving a necessary mystery. The raw vitality that is evident in his paintings draws from action and theatrical experience that are at their heights during unencumbered youth, and again, during the mastery brought on through experience.
Kelly Worman’s painting conveys her outrage brought on by the political climate and rise in conservative rhetoric. As an artist, curator and instructor of color-theory, she has temporarily moved the meter from aesthetics towards protest and stepped from the sidelines into the foray of cultural defense.
Tim Zercie creates visual portals out of fabrics sourced from all over the world as a way to connect himself to the universality of music. Ephemeral and eclectic, each musical body sprouts arms that travel globally and connect like wormholes. Tapping into a range of styles and cultures, the artist sews a garden of figural traces, signs, ashes and seeds to symbolize the growth of music between the generations.

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Jillian Denby

This is real and that's not

October 6 – November 17, 2018

For Immediate Release.

Barney Savage is pleased to premiere This is real and that's not, a new exhibition of recent paintings by Jillian Denby. Acclaimed for her very large figurative oil paintings, this exhibit presents her work in a more modestly scaled and conceptual level, investigating the quotidian passage of time.

"Nature can be overwhelming and landscape a little removed. With that in mind and viewing it directly, I try to acknowledge its presence, while conceptualizing a fragile observational dialogue". - Jillian Denby

Denby's compositions appear poignantly intimate, as her quasi-voyeuristic observations capture human behavior with painterly alacrity. Working in upstate New York, the artist has the ability to observe directly from nature and incorporate into it what she already knows about the human figure, turning her experience into compelling and credible images. Different days present various atmospheric or climatic conditions that are advantageous to specific images the artist is working with. She often makes adjustments to her environment, in order to reflect spatial arrangements she may desire for her vision. Within a natural wildness she puts together multiple task related activities that appear at the same time, as part of the same image. Looking into the space, sometimes looking out, figure groups are included as they offer human scale to the landscape as well as noise, grouping and color. Working with visual polarities, she pairs chaotic against quiet, busy figures against simple, work-like against serene; things that are not always complimentary, but together create a dynamic balance.
The stark differences between the control an artist has over figures or domestic situations juxtaposed with a lack of control over nature is something to consider in Jillian Denby's work. Through the natural portals depicted in these new paintings one can view the various attempts to dominate wild surroundings. The artist leaves the viewer lost in it, having to just let go.

Jillian Denby was born in 1944 and lives and works in upstate New York. Her work has been the subject of many solo exhibitions in New York and nationally. She is the recipient of three awards from the National Endowment for the Arts, has received two fellowships from Yaddo as well as two artist-in-residence grants at the Roswell Museum of Art. Her artworks are in numerous collections including the Hirshhorn Museum.

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Bonjour Tristesse

September 8 – 30, 2018

For Immediate Release.

Barney Savage is pleased to present Bonjour Tristesse, curated by Julian Jimarez Howard, featuring works on paper by Jillian Denby, Nathalie Jolivert, Suyeon Na, Gahee Park, Mithu Sen, Hiba Schahbaz, Sam Vernon, and Lily Wong.

Recasting the title of Françoise Sagan’s iconic tragedy, a line she borrowed from the poem À Peine Défigurée by Paul Éluard, Bonjour Tristesse is an exhibition that looks romantically, if also critically, at certain kinds of melancholia. The eight artists each take a particular illustrative lens, through which they poignantly address social relations, both structural and inter/intrapersonal. The exhibition serves as a reaction against the spectacular in favor of an appreciation of the intimate. Through a deliberate focus on the body, its gestures, and expressions each artist creates a world of emotion, an interior narrative sometimes opaque in details yet, overflowing with tone. An intuitive collection, the work selected here is as much about looking at others as it is about looking at one’s self… To borrow from Oscar Wilde, “It is the spectator, and not life, that art mirrors.” Much like the protagonist in Éluard’s poem or even Sagan’s novel, we find ourselves alone, gazing longingly at a beautiful misery, just out of reach, and yet somehow all too familiar.

September 28, 2018, - Hyperallergic: Contemporary Takes on the French Iconic Tragedy Bonjour Tristesse. By Jeffrey Grunthaner

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Paolo Arao

52 Weeks

June 9 – July 22, 2018

For Immediate Release.

Working with self-imposed structuralist plans, Paolo Arao set out to create a new 18 x 15 inch painting in a single session each week during the 2017 calendar year. The result is a body of 52 dynamic paintings that explore the idea of queer imagery without the depiction of the body.
The gallery is pleased to present all 52 paintings in their entirety, some of which are done directly on canvas or linen while others are pieced and sewn together. They have been hung in grids throughout the gallery creating a week-to-week fluidity. The installation serves as a calendar of sorts, where no piece is more important than the next but each contributes to a continually evolving queer narrative.
In her catalog essay “Yearbook Paintings: Queering Abstraction” (Paolo Arao – Yearbook - 2016) Olivia Murphy writes:
“David Getsy proposes a theory of queer formalism, stating that although forms themselves may not be inherently queer, the relationship between forms can be. He goes further to posit that queer formalism can ‘examine the ways in which forms exceed boundaries; how they behave differently in different contexts; how they are being deployed against their intended use; or how they disrupt the ostensible meaning of a text or an image’s claims to naturalism (in style or content).’ [“Queer Relations” ASAP/Journal, May 2017]”
Establishing a structural challenge with a few rules gave Arao a heightened sense of freedom that can be found in the presence of overcoming an opposition. Arao’s identity and life history became a reference for his weekly exercise in pushing the boundaries of his visual language and through different themes and variations, the artist also identified connections between a nomadic life growing up in a military household, moving from location to location. Each painting’s title begins with a number for each respective session followed by a description in parenthesis, alluding to personal or queer narratives that further challenge viewers looking for a “straightforward” meaning in a title.
His approach to image making resonates within changing meanings of queer identity, also seen in the work of artists like Elmgreen & Dragset, Robert Rauschenberg and Felix Gonzalez-Torres. Paolo Arao brings an innovative in-tune sense of painting in a time of fast imagery and employs a personal vernacular of abstraction to challenge structures of gender and identity by bending or queering the geometry in his chosen motifs and color sensibility.

Paolo Arao (b. 1977, Manila, Philippines) has had solo exhibitions at Jeff Bailey Gallery in NYC and Franklin Art Works in Minneapolis. Residencies include: Skowhegan School of Painting and Sculpture, The Studios at MASS MoCA, Fire Island Artist Residency, the Bronx Museum of Arts, the Wassaic Artist Residency and the Vermont Studio Center. He received a NYFA Fellowship in drawing in 2005. His work has been recently published in New American Paintings, Maake Magazine and Esopus. He received his BFA from Virginia Commonwealth University and is currently a Keyholder Resident at the Lower East Side Print Shop in NYC.

June 22, 2018, - maake magazine: Interview with Paolo Arao.
June 20, 2018, - Whitewall: Must See New York: Nick Cave, Justine Kurland, Paolo Arao, and More.

Amulets Ethereal

May 5 – June 3, 2018

Barney Savage is pleased to present Amulets Ethereal, a group exhibition curated by Jenny Mushkin Goldman, featuring works by Kharis Kennedy, Adam Krueger & Tableaux Vivants, Victoria Manganiello & Julian Goldman, Qinza Najm, Cheryl R. Riley, and Ashley Zelinskie.

Amulets Ethereal contemplates humankind's capacity for resilience and self-preservation through the presentation of individualistic artworks united by the shared motif of protective coverings. By being presented together, the artworks are recontextualized as mystical objects with the power to shield the viewer from the most tenuous of perceived dangers. Concurrently, interwoven throughout the exhibition is imagery that conveys technology’s indifference to these human fears and its potential to allay or precipitate them.

Ashley Zelinskie, Android III and Android IV, 3D printed nylon, nickel plated, 10 x 10 x 11 inches (25x25x28cm) each

Cheryl R. Riley, Transcendence Preserved: Rake I, 2017, Gold paint, rake, vinyl case, 42x8.5 inches and Transcendence Preserved: Shovel I, 2017, Gold paint, shovel, vinyl case, 39x10 inches

Lucy Mink

March 30 – April 29, 2018

Barney Savage is pleased to present Lucy Mink, in her first solo exhibition at the gallery.

There is a unique exuberance in this selection of new oil paintings. These modest worlds all have an inner space that is alive with the movement of bright floral hues. They both spring forth at one moment, with visual poetry, and elegant gestural brush strokes; creating movement and guidance for the eye; while then retreating into intimacy. The corners of inviting shapes, and terrains play on figure ground relationships, and are cloaked with patterns, and motifs reminiscent of quilts, fabrics, and flattened color relationships.
There is a story here, undefined by narratives, and instead is a moment like before a blanket settles on its resting object, whether that is a love seat, or a mountain, or a coalesced space, somewhere between still life, and a full heart.
The titles of these exhibited paintings invite further intrigue. Some resonate like a glib answer to a question spoken between close friends. Others are like notes, and reminders that have a subliminal familiarity, that almost complete the experience of viewing, by returning you to your own subconscious order.

Lucy Mink, b. 1968, was recently included in Color We’ll, Curated by Alex Allenchey, at Barney Savage Gallery. She was a grant recipient for the Pollock-Krasner Foundation in 2012, and has since been exhibited in New York and Brooklyn. She is the upcoming artist-in-residence at Dartmouth College, NH, and will be exhibited at Dartmouth’s Jaffe-Friede Gallery, Fall 2018.

Lucy Mink, On Top of It, oil on linen, 24 x 20 inches (61x51cm) Inquire about this artwork

(above) First Hangouts, 20 x 24 inches (51x61cm), oil on canvas. If You Want It, 20 x 24 inches (51x61cm), oil on linen.

Color We’ll

February 17 – March 18, 2018

Barney Savage is pleased to present Color We’ll, the gallery’s inaugural exhibition curated by Alex Allenchey, featuring paintings by Andrea Bergart, Lucy Mink, Corydon Cowansage, Theresa Daddezio, Emily Kiacz, and Lauren Silva.

Color We’ll brings together a collection of painters whose work, while all rooted in abstraction, proceeds in different directions, like spokes from a central axle, showcasing their own personal revolutions within a larger movement. Each artist traverses a unique aesthetic avenue and leads the viewer, either in a direct or more roundabout way, toward an individual experience of form and color that is both distinct and dislocating, intimate and unbound.

Lucy Mink ’s compact abstractions act as a visual diary of internal experience. Repeating lattices evoke a terrain of the mind where foreign and familiar ideas are concealed and uncovered through subconscious exploration. Also playing with conceptions of place, Corydon Cowansage confronts the viewer with immediately indecipherable perspectival paintings. Flattened and compressed geometries slowly yield to examination however, as color changes divulge hidden depth and unexplored space.

The irregular shapes and inherent luminosity of Emily Kiacz’s paintings play with staid notions of the medium’s materiality. Breaking from traditional forms, Kiacz proposes a lighter and brighter future. Lauren Silva similarly works to present a fresh perspective, pairing new processes with traditional approaches. Seamlessly unifying digital and analog techniques, Silva provides a slimmer of hope for our increasingly divided attentions.

Theresa Daddezio’s paintings are populated with organic yet otherworldly shapes. Subtle shifts in tone conjure a tangibility from optical effects, and imply that there may be even more than what the eye can comprehend. Drawing inspiration from incidental details of everyday urban life, Andrea Bergart melds textures and painting techniques from her personal travels and encounters to create patterned pieces full of vibrant colors that call our attention to the often unnoticed and accidental splendor of the world around us.

(From left to right) Lauren Silva, Theresa Daddezio, Corydon Cowansage

(From left to right) Theresa Daddezio, Lucy Mink

Emily Kiacz, Upsurge, (61x61cm)   contact for information

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