Art in America: The Critical Dust bowl by Darren Jones
Orth Contemporary is honored to be included in this crucial discussion. Those that work in the arts outside of New York and LA need to be heard. A huge part of the arts is made invisible by critics, viewers and collectors. It is time for our voices to be heard and creativity made visible.
Barbara and Art Culver Center for the Arts / UC Riverside
January 19th - April 14th, 2019
Paintings from the Interior is a survey exhibition of painting in and about the inland region of southern California. With a specific geographic boundary east of Kellogg Hill in Los Angeles County to the low and high deserts of San Bernardino and Riverside counties, the exhibit focuses on both the literal landscape and the conceptual imagery of place. The exhibition is curated by Andi Campognone.
Artists featured in this exhibit are Dawn Arrowsmith, Quinton Bemiller, Diane Best, Jorin Bossen, Justin Bower, Gary Brewer, Kimberly Brooks, Terry Chacon, Gerald Clarke, Hollis Cooper, Cosme Cordova, Alex Couwenberg, Chick Curtis, Joshua Dildine, Steven Hampton, Salomon Huerta, Brian Johnson, Gary Lang, Stevie Love, Aline Mare, Kevin Stewart Magee, Donna Morin, Ruth Pastine, Thomas Pathe, Andrea Patrie, Roland Reiss, David C. Rosales, Bradford J. Salamon, Jeff Soto, Sharon Suhovy, Juan Thorp, Chris Trueman, and Mark Dean Veca.
Davis Museum at Wellesley
February 7th - June 9th, 2019
Tabitha Soren’s Surface Tension intervenes into the cool, disembodied, transactional relationships we conduct with our digital devices—and meddles with the “neutrality” of the information we receive through them. Her subjects are united by a focus on touch, reinstating the haptic as an essential aspect of humanity, and the images carry a charge that is at once familiar and uncanny. Soren shoots iPad screens with an 8 x 10 view camera under raking light to reveal the grime we leave behind—the fingerprints and greasy smears of our embodied selves, so seemingly at odds with the chilly detachment and objectivity of the information that flows towards us, unrelentingly. The photographs are titled simply as urls, bringing viewers back to the “original” of the image while signaling both instantaneity and mediation. Soren’s pictures are rendered with painterly detail, luscious and beautiful, by virtue of the surface mess posed in contrast to the discernible subjects that emerge below. The project is simple, suggestive, and transformational. It not only considers “how people consume, manipulate, dismiss, cherish, interact with image-driven content online—and the relentless layering that accompanies this experience,” but insists that we pause to reconsider too.
Curated by Lisa Fischman, Ruth Gordon Shapiro ‘37 Director of the Davis, the exhibition is generously supported by Wellesley College Friends of Art at the Davis, the Alice Gertrude Spink Art Fund (1963), and the Anonymous '70 Endowed Davis Museum Program Fund.
Figge Art Museum
February 9th - May 12th 2019
The word sublime in art history is often used to refer to scenes whose magnitude and splendor inspire awe and wonder, but also a twinge of fear. Artist Kim Keever manages to create such scenes within the confines of a fish tank. Using his engineering background in fluid dynamics, Kim Keever takes photographs of compositions he creates using various paints and inks added to the water inside a 200-gallon tank to produce compelling atmospheric effects. Through the combination of handmade diorama elements, carefully orchestrated lighting, and the uncontrollable effects created by paints dissipating in the water, a bizarre landscape appears in front of Kim Keever’s lens. The resulting large scale photographs have often been compared to the paintings of the Hudson River School and simultaneously feel like an image of an aquarium, a primordial landscape, and a vision of a post-apocalyptic future.
Kim Keever lives and works in New York City. His work can be found in numerous collections, including the Metropolitan Museum of Art, the Museum of Modern Art, and the Hirshhorn National Museum of Modern Art in Washington DC.
Indianapolis Museum of Contemporary Art
July 4th - December 30th
Hayes’s fabric structures explore color theory, quilting, pattern making and modern design. They often respond to specific sites ranging from outdoor settings to interior architectural spaces. She has been collaborating with Italian fashion house Missoni for a series of installations since 2017.
Hayes will take over The CityWay Gallery curated by iMOCA with a floor to ceiling installation similar to current installations at 108 Contemporary and the Philbrook Museum of Art in Tulsa (OK).
“I have created textile panels that reveal and conceal one other, beckoning viewers to walk through the unfolding landscape of textiles, and notice new perspectives through the layers of fabrics,” says Hayes. She hopes to create an intimate moment of personal space within the gallery. Her monolithic works are vibrant with color, supple and looming, yet they yield to touch, and are not meant to intimidate, but embolden.
Ballet in the Gardens
September 14th - 29th
Eric will be painting on stage for the first major collaboration between Tulsa Ballet and Philbrook Museum of Art on September 29th. The event will feature new choreography by Ma Cong and Music by Ryan Lott.
Seattle Art Fair 2018
Henry Jackson will be featured at the Seattle Art Fair with Stewart Gallery dealer, Stephanie Wilde. Work will include both Oil Paintings and works on paper including his painting, Salva, which has been featured at the Palo Alto Art Center's exhibition, Spectral Hues, in 2016.
Georgia O'Keefe and Contemporary Art
May 26th - September 3rd - Crystal Bridges
Don’t miss this one-of-a-kind exhibition, developed by and debuting at Crystal Bridges. Featuring paintings, sculptures, works on paper, photographs, site-specific installations and more, in The Beyond, you’ll enjoy the renowned artwork of Georgia O’Keeffe while discovering a new generation of American artists working today.
Book Publication - Hate is What We Need
On March 27th, Chronicle Books will release Ward Schumaker's book of paintings titled, "Hate is What We Need". This book translates the political context of our current moment into visceral works of art. Schumaker turns some of Donald Trump’s most egregious statements into emphatic text-based paintings. Hate Is What We Need reminds us that no matter how numb we have become to the constant barrage of vitriol and dishonesty emanating from the current White House, this state of the union is not normal.
afterward for Hate Is What We Need
I am an artist, a painter––of books. Big, messy, one-of-a-kind hand-painted books. Frequently containing stenciled lettering, sloppy calligraphy, approaching and often accomplishing incomprehensibility.
Subject of these books? Beauty, for the most part, but including snippets of spiritual texts, fragments of dreams, and apparently irrelevant and/or inscrutable instructions. Not for the reader in search of plot, betterment, or popular imagery. And nothing political. Never anything political.
But then the night of horror arrived, that night in which the world itself became less comprehensible than many of us had previously assumed (and hoped) it to be: the night Donald J. Trump was elected president of the United States. Not with a majority (we all know Hillary won that) but an officially authorized win, nevertheless––a frightening, disheartening, dangerous and destructive win.
Since that night, my wife and I have awoken each day with the questions we share with so many: what new horror had Donald committed while we slept, what vile inanity had he voiced, who had become his latest victim? How much closer was the world to nuclear holocaust?
My personal vision of Beauty had always seemed sufficient subject for my painting. Living under Trump seems to have changed that. This book is a small effort to respond to Trump's menace: a collection of hard-to-believe, highly regrettable, dangerous, mean-spirited and ill-informed words from the orange-faced comb-over, himself. I am certain to have missed some of your favorites, and I am certain that each week there will be more statements that deserve to be included.
All I can answer to that is: Resist.
Museum Show Announcement - May 26th 2018 - September 3rd 2018
This exhibition introduces viewers to a new generation of American artists, and allows for a fresh look at Georgia O’Keeffe through the lens of contemporary art.
The exhibition is organized by Crystal Bridges Museum of American Art, and was curated by Lauren Haynes, Curator of Contemporary Art, Crystal Bridges; and Chad Alligood, Chief Curator of American Art, The Huntington Library, Art Collections, and Botanical Gardens.
After its presentation at Crystal Bridges, this exhibition will travel to two additional venues and will be accompanied by a full-color catalog including essays by exhibition curators and leading scholars.
Museum Acquisition - October 2017
Henry Jackson's work, Conformation 2015, has been acquired for the permanent collection of Achenbach Foundation for Graphic Arts, Fine Arts Museum, San Francisco, California
Publication - September 2017
A limited-edition monograph of Kim Keever's work is being printed in Italy this fall. This hardcover book will be signed by the artist and include approximately 150 color plates, as well as two essays about the artist and his work. Each monograph will be accompanied by a limited-edition signed print and be presented in a handmade linen-covered clamshell box.
Each collector who purchases this monograph will be acknowledged, with their permission, in the book. The price is $1,000 per monograph, $900 if pre-ordered by September 12th.
How To Flatten a Mountain: April 24th - May 5th 2017
We are pleased to announce that Kate Petley has been awarded a project-based residency in Ireland. Internationally competitive, the program is facilitated by How to Flatten a Mountain. It is an exciting 12 day residency opportunity presented by PhotoIreland Foundation & Cow House Studios, and with the support of OPW, open to emerging and mid-career visual artists who use photography but are not known as photographers. It culminates with an exhibition in Dublin for PhotoIreland 2017.
The colophon of the residency is an exhibition of the works produced, presented during the PhotoIreland Festival at Rathfarnham Castle.
Red Ivory: Opening March 25th 2017
After San Francisco artist Henry Jackson’s 2012 success of “Kingdom Animalia”, a large scale video & sound installation, the San Francisco Zoological Society approached Jackson once again. This time, to create an artistic interpretation of an animal kingdom under siege: the African elephant, and the demand for it’s tusks. The result, a mesmerizing and transformative six minute video and sound installation called: RED IVORY.
The world’s elephants are formidable creatures with considerable intelligence, empathy and unbounded devotion to the family unit. Sadly, like so many species today, they are struggling to hold on at the hands of insatiable greed. This insurmountable burden of loss is not only taking a catastrophic toll on the elephants, but on countless other creatures - as well as the environment - that rely so desperately on their paramount contribution to the ecosystem. An ecosystem that, without our help, will soon cease to exist.
Jackson’s video, like his paintings, is an emotional confrontation. A gamut of visual unrest. At any given moment, the depicted imagery can transcend you to an elevated state; a musing of one’s soul - then quickly jump to a moment of deep contemplation and restlessness. And there-in lies the intrigue of Jackson’s work; they are not one individual, they are representative of everything as a whole. The part of humanity and nature that is interlinked. While Jackson is known more for his mastery of painting, his recent ventures into video are nothing short of transcending. After eight months of research, compiling, and the transforming of appropriated video footage and stills; plus an original composed score, Red Ivory is a hypnotic and metamorphic opus.
Jackson’s immersive video and sound installation, brings a creative and critical awareness to a kingdom in desperate need of our attention, compassion and rescuing.
Music Score by Silvanus Slaughter
Sound Design by Andrew Roth
Technical Assistance by David Magnusson
Spectral Hues: Artist + Color (group show) January 21 - April 9, 2017
Forty-five years ago the Palo Alto Art Center opened its doors with an exhibition exploring the conceptual use of color by Bay Area artists. As a continuation of the Art Center’s year-long celebration of its still vibrant service to the Palo Alto community, Spectral Hues examines light and color in the work of today’s Bay Area artists by featuring a selection of works that explore the presence, or lack, of color along with the optical and emotional influence of color on the viewer, and the interaction of light and color. This exhibition is guest curated by Sharon Bliss.
Orth Contemporary is pleased to sponsor a lecture by Henry Jackson in conjunction with the “Red Ivory” project. The event will take place in San Francisco. Date to be announced.
Hoping to Help - January 14th - April 7th
Orth Contemporary would like to congratulate artist, Danica Phelps for her ongoing achievements in her artistic philanthropic undertaking, “The Gratitude Project."
In late October, Danica, turned her Facebook page into an auction site for her drawings, with the proceeds going to not-for-profit organizations. The records of these transactions will be featured at the Weatherspoon Art Museum..
Danica will be completing work on the diptychs that resulted from the posts and installing them at NF Galeria in Madrid at the end of April.
Danica Phelps', The Gratitude Project, begins with an auction of her own works through social media to raise funds for non-profit organizations. The second generation of each drawing will be exhibited at Untitled San Francisco with a drawing depicting the work of each nonprofit. A growing net of drawings, a statement and a fight. Art - a motor of change.
January 15th Danica will be live on Untitled, Radio to speak about this project and will also be auctioning off an artwork with proceeds to benefit the Fire Resiliency Fund for the Oakland Fire.
This program is presented by Untitled and San Francisco exhibitor, NF Galeria (Madrid)