Joy Garnett | Thomas Albdorf | William Powhida As the sun hits
December 1 to 31
A suite of prints by Joy Garnett titled Deep Dish; photographs by Thomas Albdorf from his Former Writer: Colour on Surface series; a portfolio of digital prints by William Powhida titled What Is Art?
Marc Dombrosky A New Curse:
Parts 1 and 2
October 1 to November 30
Objects collected over the years shift around constantly in our home, drifting towards unstable finality and specialization zones. These migratory combinations create histories—new trajectories formed with uncertain futures. Used readymades imbued with loss, then time, or nostalgia. Sometimes these may be records of events, or forms just observed. Maybe they can’t even be moved. Maybe they shouldn’t be. They all feel accursed—that unites them. Old orders of qualification/quantification dissolve. Not being able to throw away something like a plastic Lunchables container or an empty humidor comes at a cost. A system of belief emerges.
Lucas Kelly Besides
September 1 to 30
“I think about my work as nostalgically being similar to songs in the way music becomes a place holder for moments in our personal histories. Different points in my personal narrative generate specific images to which I can attribute a sonic reference. The music of Bob Mould was a soundtrack to a large portion of my life. I devoured every release by the bands Hüsker Dü and Sugar, as well as all of Mould’s solo albums, singles, and ep’s that I could find. I think his songwriting influenced my aesthetic a great deal. There are pop sensibilities to his songwriting that function much like the way I approach composition and color. Simple, minimal, direct, and at times romantic, yet he always manages to shift gears and not allow his work to become trite, or cliche, pop music. In a similar way, I am using a minimal or reductive aesthetic that employs an acknowledgement of humanity and celebrates it. When I was in graduate school, the painter Tom Nozkowski said my work was ‘a type of punk minimalism.’ But I think it deviates from being explicitly ‘punk.’ I hope the work moves through similar variations that underground music saw in the post punk era.
“When I started these works on paper I thought of them as ‘B-Sides,’ like songs that were on the b-side of singles that I bought years ago. Rarities that were the reason one would purchase the single. These songs never made it to albums, but ran parallel to the work on the album. In a way these paintings on paper run parallel to the objects. While I am concerned about people feeling like the idea of the b-side may denigrate the work as not being equivalent, I like the idea of these also running beside my practice.”
Kelly Mark Letraset Drawings
June 1 to July 31
“Drawing may be thought of as the recording or developing of visual ideas. Mark refers to her Letraset works as ‘drawings.’ While this designation situates her deployment of ready-made vinyl characters among historical practices of creative mark-making, it also admits the less-serious connotation of doodling or sketching, which Mark says she prefers. The Letraset drawings imply that typography communicates culturally-specific preferences. Through her seemingly idle play with letterforms, Mark channels the modernist formal syntaxes found in Constructivism, Dada, Futurism, even Lettrism—all of which incorporate letterforms—in response to the aesthetic genealogy of original Letraset font design. Perhaps such art historical erudition is best worn lightly by one who take pleasure in the sensual allure of broken language.” —Ingrid Jenkner Beyond Words (exhibition catalog) Mount Saint Vincent University Gallery, Halifax
Christopher Harris Sonoran Desert
May 1 to 31
With his Sonoran Desert series, Christopher Harris continues to explore the landscape of the American West using pinhole cameras. A pinhole, literally a hole made with the point of a needle, projects an inverted image of a scene onto paper or film. First used by artists as a drawing aid, the pinhole was adapted to photography cameras in the late 19th century. Today it is an alternative for photographers interested in the unique effects the pinhole produces. Varying his pinhole, the construction of his homemade cameras, and various film stocks, Harris’s work has ranged from black and white garden panoramas to abstract color landscapes. To capture the often unseen beauty of the Sonoran desert for this series, he mounted a pinhole “lens” on a digital camera, and utilized a flash to illuminate the desert in the foreground.
Outside Tucson, Arizona, saguaros blanket the hills and desert floor in the national park named for that cactus. Living about 200 years, saguaros grow to more than 40 feet. It’s an impressive sight. But a short walk into the desert, whether in the park or through patches of desert in Tucson’s neighborhoods, reveals other pleasures for those who look: the graceful curve of an ocotillo, a cholla cactus whose beauty belies its dangerous spines, a cascade of white flowers among the saguaro. Harris brings these moments of discovery to us with his pinhole photographs.
Joy Garnett Deep Dish
April 1 to 31
Platform presents a new suite of digital prints by New York-based artist Joy Garnett. Each print is signed, with the number/edition and date, in pencil in the lower right corner margin. The unframed prints are available individually for $500 each or as a folio of any 6 prints for $2,000 (packaged in an 17 x 22 inch acid-free archival portfolio, interleaved with protective glassine.)
Donnabelle Casis Warp
March 1 to March 31
“I am fascinated by visual perception and how meaning is derived from what is seen. I look for hidden geometries which may connect disparate and discrete perspectives to form a greater whole. My current work explores identity and its relationship to markers and patterns. I draw from various sources such as ancient Filipino tribal tattoos and textiles, trajes de luces (suits of light) or bullfighting costumes, and facial recognition software. I am also interested in the literal use of patterns in design and in the form of ritual, in order to seek when patterns change.”
David Willburn The World is the Teapot and the Cup
February 1 to February 28
“My work exists at the intersection of craft and fine art, and within that space I explore traditions of drawing, painting, and sculpture. The process of making mixed-media paintings, embroidered drawings, and installation projects often begins with images and ideas culled from contemporary culture and politics—photographs or memories of a specific event. Items and scenes from my own home, social institutions, or mass media are starting points that are filtered through layers of abstraction and analysis as a way of stripping away the familiarity and objectness of things and situations. These reimagined ideas and compositions are loaded with more possibility. In these abstractions I find new narratives, and I look for ways to queer the materials, reshaping and repurposing things through form and subject.”
January 1 to January 31
“This recent body of work takes the imagery from past paintings and puts them into multiple possible environments. I am monograming towels and hand cloths with invented symbols that assign ownership and property. In doing so I am creating an identity; an individual and also a group that understands and operates within this environment. These citizens are united, spontaneous and resourceful as they accept the outcast and worn and see a value in history. Along with additional embellishments, these towels are a leftover from a past indicating the individual within the group. They show the wear and the use of their owner. With their shared aesthetics, they show an allegiance to the collective.”