STEVEN ZEVITAS GALLERY, exhibits GERALD EUHON SHEFFIELD II: melancholy satire July 15 - August 27, 2022, opening Friday, August 5, 5:30-8 PM

STEVEN ZEVITAS GALLERY

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GERALD EUHON SHEFFIELD II: melancholy satire July 15 - August 27, 2022 Please join us for a public reception tomorrow, Friday the 5th from 5:30 - 8 pm.

Steven Zevitas Gallery is pleased to present melancholy satire, an exhibition of new paintings by Gerald Euhon Sheffield II. The exhibition will run from July 15 – August 27, 2022 with a public reception on Friday, August 5 from 5:30 – 8 pm.   Each work presented in melancholy satire belongs to a larger ongoing series entitled fable for introverts in which Sheffield reflects on a 2019 Fulbright trip to the Uzbekistan-Afghanistan border and his subsequent return to the United States. An avid researcher and Army veteran, Sheffield extends his experiences and findings into a visual language where research, personal anecdotes, book titles, the effects and structures of racial epithets, American folklore, domesticated animals, and playful figures of speech intermingle. Amongst this cultural chaos, Sheffield provides intentional, intimate moments of rest and introspection.   The smallest painting in the exhibition, a yellow bird, a yellow bill, sat upon my window sill!, depicts a brightly colored bird hopping through an open window on a sunny day. The bird looks directly at the viewer, ready to eat a piece of bread at the bottom of the frame. What first appears as an innocuous domestic scene starts to become more insidious as we notice a string tied around the morsel. What once appeared as a gift has turned into a trap as these playful markers build to a darker dialogue. The title of this painting sounds like an upbeat song, but comes from a US Army cadence sung by soldiers marching in basic training and speaks to a loss of innocence in boredom during war: A yellow bird, / With a yellow bill, / Sat upon / My window sill! / I lured him in, / With a piece of bread, / And then I smashed, / his fucking head! / I scooped him up, / In a dixie cup, / And then I drank, / That fucker up! / The moral of, / This story goes, / To get some head, / You need some bread!   While melancholy satire points to sadness submerged beneath the guise of humor, we find respite in Sheffield’s open strokes and his willingness to address weighted themes through the lens of his domestic life. A flower blooms in darkness, a woman appears triumphant atop her horse, and hands brush in an intimate moment.

Please email liz@stevensevitasgallery.com with questions or inquiries.

Gerald Euhon Sheffield II is an artist and educator living and working in Massachusetts and New York. His studio practice is based in critical and site-specific research, painting and sculpture, and fluid dialogues between art, design, and public discourse. Sheffield’s professional background consists of a diversity of institutions and collaborations across borders. He served in the United States Army for eight years as a Visual Communications and Military Intelligence Public Affairs specialist in Paraguay, Guatemala, Brazil, and Kuwait. He deployed to Iraq from 2007-2008, working alongside Iraqi civilians and community leaders during the Iraqi Reconstruction campaign. He received a BFA in Fine Arts from the School of Visual Arts, and an MFA in Painting/Printmaking from Yale University. He is the recipient of numerous awards, including the United States Armed Forces Meritorious Service Medal, the Alice Kimball English Traveling Fellowship, and JUNCTURE Human Rights Research and Travel Fellowship in South Africa. He recently completed a Fulbright Research Grant in Samarkand and Tashkent, Uzbekistan - researching the Islamic architecture of the Silk Road and its influence on the tolerance and diversity of Central Asian Muslim society. He is a 2022-2023 National Endowment of the Humanities Fellow. He currently teaches Foundation Drawing at The Cooper Union for the Advancement of Science and Art in New York City, and Structural Drawing at The University of Massachusetts, Dartmouth. Sheffield is working on a long-term book collaboration with Afghan-American poet and scholar, Zahra Saed, regarding the travels of Harlem Renaissance poet - Langston Hughes and his travels to Soviet Central Asia.

STEVEN ZEVITAS GALLERY 450 Harrison Ave., Suite #47 Boston, MA 02118 617 778 5265 x22 @stevenzevitasgallery #stevenzevitasgallery#finrartmagazine#summerartfun

The Tripoli Gallery exhibits artists Robert Dash and Connie Fox in "Connie & Bob" August 6-September 5, 2022

The flower image has returned throughout, partly for its ‘abstract voice’.  ~ Connie Fox CONNIE & BOB August 6 – September 5, 2022 Paintings by  Robert Dash and Connie Fox   Then, something, not a jungle, begins beguilement in the garden. (from Poem)  ~ Robert Dash Tripoli Gallery is excited to announce Connie & Bob, an exhibition that looks at the artwork and friendship between artists Robert Dash and Connie Fox, specifically how they painted flowers. On view at 26 Ardsley Rd., Wainscott, NY, the exhibition will open with a reception on Saturday, August 6, from 6-8pm, and remain on view until September 5, 2022.    Connie Fox and Robert Dash met while at the University of New Mexico in the 1950s, among a vibrant group of artists and writers. They parted ways and later reconvened on the East End of Long Island. Bob bought a home in Sagaponack in 1967 where he painted, wrote and gardened. It was there that he founded the New York State recognized Madoo Conservancy and had esteemed visitors such as John Ashbery, Fairfield Porter, Willem de Kooning, and Jimmy Schuyler to name a few. Connie bought a house in East Hampton 12 years later, after the prompting of Elaine de Kooning, another longtime friend she met in New Mexico. It was Elaine who assured her that she, “…could turn the whole house into her studio.”   Bob and Connie share an affinity in their approach to the canvas, each returning to nature as a recurring, even if disparate, focal point. In the selected work on view at Tripoli Gallery, Connie Fox utilized the form of the flower —petals, stem, and pistil—as a literal stand-in or metaphor for the human body, often painting or collaging a face at the center. Before delving deeply into the non-objective force behind abstraction, Fox found abstract elements in natural, organic shapes, while Dash was fascinated with painting flowers and growing them in his gardens. In his paintings of flowers, he stays away from creating any kind of immediately recognizable portraiture, rather creates space for discovery of the self. In contrast, Fox’s The Flower as Sarah Bernhardt, 1965, the artist interweaves the famed actress’ face into the center of a flower, almost giving the subject super “natural” powers. The large black petals, expansive within the frame of the canvas, stretch from edge to edge. The face of her subject, rotund, moon-like even, fills the center of the flower glowing—a focal point of the composition. Similarly, in this instance, Dash’s Untitled 2002-2003, oil on paper, resonates with Fox’s work and plays with scale and schema. Placing a black flower in the center of the surface, its petals are outstretched as if asking for a hug. Rather than use a fully monochromatic palette, his painting features bright orange line work to define the petals.    Connie & Bob is a meaningful glance between two old friends. The paintings on view range from 1955 to 2003 and trace their relationship with art-making through the years. This also rings true when comparing the vertical composition of Connie Fox’s Self Portrait as a Flower, 1955 and Robert Dash’s Untitled, 1996. Fox playfully depicts herself in a dress composed of the body of an Iris, while in Dash’s piece, a flower emerges from the tip of a phallus, a visual translation of masculine virility. Fox’s floral portrait exudes femininity. In both, we see a familiar, very human, geometry, as these artists responded to the simplicity of blossoms through a language of form and color. While they approached flowers at different life stages, the roots, their roots, had already been planted. Connie, now 97 years old, still lives and works in East Hampton and will have a solo exhibition at Tripoli Gallery in 2024.    Robert Dash (b. 1931, Manhattan, NY, d. 2013, Sagaponack, NY) attended the University of New Mexico. A longtime Hamptons resident, Dash’s works have been exhibited in one-man exhibitions in Holland, England, and Germany as well as numerous major American art galleries. He also participated in many group exhibitions including the Museum of Modern Art, Yale University and the Fine Arts Gallery University of Missouri. His works are also featured in museum collections including the Modern Art Museum, Munich; Guggenheim Museum; Boston Museum of Fine Arts; Philadelphia Museum of Fine Arts; and the Corcoran Gallery.   Connie Fox (b. 1925, in Fowler, CO) received her BFA in 1947 from the University of Colorado, and then attended Art Center School in Los Angeles for a rigorous program of drawing, perspective, rendering, and composition. She received her MA at the University of New Mexico in 1952. Fox has taught at Carnegie-Mellon University in Pittsburgh, The School of the Art Institute of Chicago, Long Island University in Southampton, and the Vermont Studio Center, Johnson. She has exhibited her work in museums and galleries across the country, including the Parrish Art Museum, Water Mill, NY; the American Academy of Arts and Letters, NY; Weatherspoon Gallery at the University of North Carolina in Greensboro; the University of Florida, Gainesville, and others including solo exhibitions with Danese/Corey Gallery in New York, the Daura Gallery at the University of Lynchburg, and the Heckscher Museum of Art. Connie and Bob will mark the second exhibition Fox’s work has been included in at Tripoli Gallery. For press inquiries or further information, please contact info@tripoligallery.com or call 631.377.3715 Images above Connie Fox, Chinese Bitters, 1967, oil on linen, 49 x 59 inches (124.46 x 149.86 cm)  Robert Dash, Untitled(4), Florilegium Series, 2000, mixed media on paper, 70 x 70 inches (177.8 x 177.8 cm) © Madoo Conservancy, 2022 26 Ardsley Road, Wainscott, NY 11975 (Enter via East Gate Rd.) Hours: 10am – 6pm Sunday 12 – 5pm Closed Tuesday Copyright © Tripoli Gallery Inc. 2022, All rights reserved. #tripoligalleryart#fimeartmagazine#summerartfun

Cooper Cole Gallery exhibits G.B.Jones August 6th

G.B. JONES Organized by Kunstverein Toronto in collaboration with D St-Amour August 6 - September 10, 2022   Opening reception and book signing: Saturday August 6, 5-7pm   G.B. Jones is recognized for many accomplishments: for the success of her post-punk band Fifth Column (1981-2002), the widespread influence of the many queer punk zines she co-authored, including J.D.s, Double Bill and Hide, her coining of the term “queercore,” and her prolific work as a “no-budget” filmmaker, scene photographer and visual artist. Her drawing series, “Tom Girls,” originally published in J.D.s, replaced Tom of Finland’s iconic, “hyper-virile studs” with bold, uncompromising leather dykes, co-opting Finland’s objectified, male-on-male erotica and presenting a world of “nasty female role models.”   In 1994, Feature gallery and the publishing imprint Instituting Contemporary Idea in New York released G.B. Jones, a monograph compiling Jones’ “Tom Girls” drawings alongside show and film posters, record covers, comics and commissioned writing. As part of a campaign by the Canadian Border Services agency against allegedly pornographic or immoral materials in the 1990s, copies of Jones’ book were seized by the Canada Border Services Agency and barred from entering the country on the charge of depicting “bondage.” Jones was later informed that the seized copies had been burned by Border Control agents.   27 years later, in collaboration with Jones, Kunstverein Toronto is putting G.B. Jones back in circulation in Canada. A re-publication of the book will launch on August 6 at Cooper Cole alongside an exhibition of related drawings, photographs, posters, ephemera and tributes that reflect the reach and influence of Jones’ heterogenous practice, both at the time of the original release of G.B. Jones, and today. This project was curated by Kunstverein Toronto together with research and publication direction by D St-Amour.   “Dodie Bellamy on G.B. Jones’s Nasty Female Role Models” Frieze Issue 200, Jan 9, 2019   G.B. Jones (b. Bowmanville, Ontario, Canada) is an artist, filmmaker, musician, and publisher of zines. Jones’ drawings first received notoriety when published in the Toronto-based queer punk zine J.D.s that she ran with Bruce LaBruce. Her prolific drawing series Tom Girls is widely recognized, and reimagines Tom of Finland’s drawings by replacing all the hyper-masculine subjects with women, subverting the intent into a contribution to third-wave feminist art. In 2002, Jones began a series of collaborative collages with Paul P., many of which were published in the book A Queer Anthology of Rage. Jones’ spray-painted images of Ionian columns - one of which is permanently installed at Cooper Cole - references her post-punk band Fifth Column (1981–2002) and suggests the weaving together of her music and drawing practice.   Jones has exhibited her art nationally and internationally since the early 1990s, in spaces such as Columbus Museum of Art, Columbus; Participant Inc., New York; Mercer Union, Toronto; The Power Plant, Toronto; Kunsthalle Exnergasse, Vienna; White Columns, New York; AKA Artist Run Space, Winnipeg; Muncher Kunstverein, Munich; and Schwules Museum, Berlin.  She was included in the 2012 exhibition This Will Have Been: Art, Love, and Politics in the 1990s, which was curated by Helen Molesworth for the MCA Chicago and subsequently travelled to the Walker Art Center, Minneapolis, and the ICA Philadelphia. She has also exhibited at national and international galleries including David Zwirner, New York; Cooper Cole, Toronto; Paul Petro Contemporary Art, Toronto; Feature, New York; Galerie Clark, Montreal; and Or Gallery, Vancouver. G.B. Jones lives and works in Toronto, Ontario, Canada and is represented by Cooper Cole.   Kunstverein Toronto is a curatorial and publishing platform operating alongside its partners in Amsterdam, Aughrim, Milan and New York. Moveable in both time and space, Kunstverein Toronto is dedicated to experimentation, discussion and hospitality in art, exhibition and publication practices. Fundamentally, Kunstverein Toronto seeks to foster exchange between local and international conversations, contexts and generations. Kunstverein Toronto was founded in 2014 by Kara Hamilton and Kari Cwynar. We program in dialogue with a local advisory board as well as an international group of artists, curators, thinkers and enthusiasts.     D St-Amour is a writer, curator and book maker currently located in Tio'tia:ke - Mooniyang (Montreal).   G.B. JONES Organized by Kunstverein Toronto in collaboration with D St-Amour August 6 - September 10, 2022   Opening reception and book signing: Saturday August 6, 5-7pm For sales and press inquiries please contact the gallery:  info@coopercolegallery.com +1.416.531.8000 coopercolegallery.com #coopercolegallery#fineartmagazine#sunstormartfun

Oklahoma Contemporary presents: Blockbuster Guadalajara exhibition to consider history, present and future of creative communities

Blockbuster Guadalajara exhibition to consider history, present and future of creative communities

La casa que nos inventamos, featuring 19 Mexican artists and nearly 50 works, finds parallels to Oklahoma City

Opening across Oklahoma Contemporary’s campus on Sept. 23, La casa que nos inventamos: Contemporary Art From Guadalajara provides an opportunity to consider how, since the 2000s, one city in Mexico has built upon its rich cultural history as the capital of the state of Jalisco to become a leading hub of contemporary architecture, design, cuisine, literature and visual art. 

In recent decades, the social and economic impact of culturally dynamic communities has been widely recognized. The exhibition La casa que nos inventamos, which translates to “The house that we invented,” reflects on and responds to place — to the rich and complicated history, present and future of a creative community.

Guest curated by Viviana Kuri, director and chief curator of the Museo de Arte de Zapopan(MAZ), the exhibition features nearly 50 conceptual artworks — paintings, sculptures, installations, performances — created within the last decade by 19 visual artists from or living in Guadalajara. Featured in the survey are works by figures who rose to international prominence in the 2000s — Gonzalo Lebrija, Jose Dávila, Eduardo Sarabia, Francisco Ugarte — as well as by a generation of artists — Isa Carillo, Larissa Garza, Renata Petersen — who have gained greater attention in recent years.

“After years of research, dialogue and exchange with the artists, galleries, institutions and collectors of Guadalajara, we’re thrilled to welcome this special group of artists to Oklahoma,” says Oklahoma Contemporary Director Jeremiah Matthew Davis.

Through focusing on one dynamic art scene across platforms, La casa que nos inventamos provides a moment to consider the many factors — strong art museums and schools, generous supporters and galleries, plentiful studios and collective spaces — that together make a city’s creative community distinctive, resilient and enduring.

“We believe this exhibition and its related programs will uncover some unexpected parallels between the communities of Guadalajara and Oklahoma City,” Davis says. “For anyone who has ever wondered how an arts scene grows from tender seeds to a thriving ecosystem, this show is a must-see.”

The exhibition will launch concurrently with Oklahoma Contemporary’s Open House, a curated weekend filled with one-of-a-kind arts experiences, including performances from and talks withLa casa artists, tours, art-making, music, a car parade and more. The free festivities will reflect some of the pomp and circumstance originally planned for the arts center’s grand opening, which was canceled in March 2020 because of the pandemic.

Dubbed Open House to mirror La casa que nos inventamos, the weekend will welcome the public not only its new facilities, but also to the messages within the blockbuster Guadalajara show.

“This beautiful, immersive exhibition dives deep into an exciting scene in Mexico, and prompts vital questions: What makes for a fertile creative community? What defines the cultural language of a city?” says Kate Green, guest director of curatorial affairs at Oklahoma Contemporary. “As the title suggests, the answers lie within the artworks, artists and dynamic city — in the beautiful house they have together invented.”

“Through over 40 works — massive outdoor sculptures, a sprawling colorful mural, quiet paintings, a luminous video, lively performance — by nearly 20 emerging and mid-career artists, the exhibition transforms Oklahoma Contemporary inside and out.”

La casa que nos inventamos includes artworks by artists Octavio Abúndez, Alejandro Almanza, Zazil Barba, Julieta Beltrán, Carrillo, Claudia Cisneros, Hiram Constantino, Dávila, Garza, Florencia Guillén, Cynthia Gutiérrez, Carmen Huizar, Lebrija, Jorge Méndez Blake, Petersen, Daniela Ramírez, Gabriel Rico, Sarabia and Ugarte.

Oklahoma Contemporary’s connection to Guadalajara dates back to 2014, as the organization planned the first of four solo exhibitions at its temporary experimental arts space, Marfa Contemporary, in Texas. After collaborating with Lebrija, Dávila, Ugarte and Méndez Blake, director Davis and founder and board chairman Christian Keesee traveled to Guadalajara to learn more about the city’s arts scene and creative community.

Those years of research and relationship building are reaping rewards, Green says. “La casa que nos inventamos: Contemporary Art From Guadalajara is an extraordinary opportunity to experience and learn from one of the most vibrant hubs of contemporary art in the Americas.” 

The exhibition is on view Sept. 23, 2022 – Jan. 9, 2023.

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A media kit featuring the press release (in English and Spanish), a bio of Kuri and high-resolution images can be found at bit.ly/OC_LaCasa. Interviews with the artists, curators and Oklahoma Contemporary staff can be organized through Lori Brooks (lbrooks@okcontemp.org). Past press releases and information are archived at oklahomacontemporary.org/media.

Images: (1.) Gonzalo Lebrija, Breve historia del tiempo, 2020. Plymouth Duster, dyed water, receptacle. Dimensions variable. Photo: Fernando Marroquín T. Courtesy Colección Jumex. (2.) La casa logo, Museo de Arte de Zapopan's Paulina Magos in collaboration with Oklahoma Contemporary's Marie Butterline. (3.) Claudia Cisneros, Economía del lenguaje, 2020. Installation/performance. Guadalajara mosaics, cotton pillows, newspaper flowers, video, projection channel. Dimensions variable. Courtesy of the artist. (3.) Gabriel Rico, I Have Anticipated You III, 2019. Ceramic and sand. 66.9 x 66.9 x 27.6 in. Courtesy of the artist.

About Oklahoma Contemporary

At the new, state-of-the-art Oklahoma Contemporary, visitors explore art and creativity through exhibitions, performances and a wide variety of educational programs. At its core, the multidisciplinary contemporary arts organization is an inclusive space. Exhibitions and most programs are free. You are always welcome here.

In addition to the 8,000 square feet of galleries for visual art, Oklahoma Contemporary’s new downtown home includes a flexible theater, a dance studio and nine classrooms for Camp Contemporary and Studio School. The 4.6-acre grounds also include The Studios, a renovated warehouse that houses ceramics, fiber, painting, printmaking and sculpture classes. Campbell Art Park, our Sculpture Garden and North Lawn lend outdoor space for exhibitions, programs and performances.

After providing contemporary art experiences of all kinds for 30 years at the State Fairgrounds, these new, centrally located facilities dramatically increase Oklahoma Contemporary’s capacity to meet growing demand for arts and culture across our city, state and region. 

Oklahoma Contemporary is a regional 501(c) (3) nonprofit organization founded in 1989 by businessman and philanthropist Christian Keesee and Kirkpatrick Foundation Director Marilyn Myers.

  

Learn more: okcontemp.org

               

      

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Oklahoma Contemporary Arts Center | 11 NW 11th St. | Oklahoma City, OK 73103

At Artists Space catch Circus Amok Saturday, August 13 Begins promptly at 2pm in Cortlandt Alley

	Circus Amok
	Saturday, August 13 Begins promptly at 2pm Cortlandt Alley  In conjunction with our current exhibition Attention Line, the radical New York City circus and theater troupe Circus Amok makes its triumphant return with its first new show since 2018 at Artists Space in Cortlandt Alley on Saturday, August 13th at 2pm. The show is free and open to the public. Witness as a beleaguered band of circus performers flee fire and flood, transphobia, misogyny and more, seeking refuge in the arms of New York City. But…will they find it?? Find out for yourself when you attend Circus Amok's back-alley political queer extravaganza! Expect stunning stilters, jaunty jugglers, astounding acrobats, drag queens, nerd bots and more...danger, glamour, glitter, beware!! The show's star-studded cast includes Becca Blackwell, Jules Skloot, Claire Dolan, Stephanie Woods, Pher Gleason, Lex Alston, Kym Bernazky, David Guzman, Zo Williams, and Kali Therrien, with the infamous Circus Amok band directed by Jenny Romaine and featuring Ben Meyers, Jessica Lurie, Mary Feaster, and Lee Free, and a set designed by Scotty Heron.
	Circus Amok, The Experimental Walking Tour, 2002. Performed in various parks across the five burroughs. [A color photograph of several figures marching in the middle of the street while holding up posters. One of the figures is wearing stilts, while others are pushing carts or instruments on wheels. From the sidewalk, various pedestrians look on.]
	Dedicated to confronting contemporary social justice issues since 1989, Circus Amok began presenting one-off performances at P.S.122 before inaugurating their annual free outdoor shows in 1994 in small neighborhood parks and well-traveled public squares in Manhattan, Brooklyn, Queens, and the Bronx. Their outlandishly funny, politically feisty, joyously queer one-ring spectacles combine traditional circus skills–tight rope walking, juggling, acrobatics, stilt walking, clowning–with experimental dance, lifesize puppetry, improvisational techniques and live music. Essential to their performances is a fervent, energetic addressing of timely political themes, which in recent years have included housing, health care, gentrification, gay marriage, immigration, the Department of Homeland Security, police brutality, police stop-and-frisk policies, and public education. Circus Amok’s gender-bending performance art expands the notion of what a circus can be for its public, and creates inimitable physical and verbal spectacles that invite the audience to envision a more empowered life of community interaction and equanimity. Jennifer Miller, the director and founder of Circus Amok, is an Obie, Bessie, and Ethyl Eichelberg award winning playwright and performer who has worked with alternative circus forms, theater, and dance for over thirty years. As a dancer, Miller has performed with Cathy Weis, Jeff Weis, Jennifer Monson, John Jasperse, Johanna Boyce, Doug Elkins, and They Won’t Shut-up among many others. Miller is a professor of performance at Pratt Institute. Accessibility Artists Space is fully accessible via a wheelchair lift and automated door in front of the entrance on 80 White Street. The cellar gallery can be accessed via the ground floor elevator. Artists Space welcomes assistance dogs, and has wheelchair accessible non-gender-segregated toilet facilities. If you have any further questions about access please email info@artistsspace.org. Supporters Support for Artists Space is provided by Lambent Foundation Fund of Tides Foundation, The Andy Warhol Foundation, The Cowles Charitable Trust, The Cy Twombly Foundation, The David Teiger Foundation, The Helen Frankenthaler Foundation, The Horace W. Goldsmith Foundation, The New York City Department of Cultural Affairs, The New York State Council on the Arts with the support of Governor Kathy Hochul and the New York State Legislature, Imperfect Family Foundation, Robert Rauschenberg Foundation, The Stavros Niarchos Foundation, The Willem de Kooning Foundation, The Fox Aarons Foundation, Herman Goldman Foundation, The Destina Foundation, The Luce Foundation, May and Samuel Rudin Family Foundation, The Milton and Sally Avery Arts Foundation, Arison Arts Foundation, The David Rockefeller Fund, The Jacques and Natasha Gelman Foundation, The Jill and Peter Kraus Foundation, The Richard Pousette-Dart Foundation.  #circusamokfun#fineartmagazine#summerartfun

The Gerald Peters Gallery, opening reception for Penelope Gottlieb, July 29 in Santa Fe, NM

#geraldpertersgallery#fineartmagazine#summerartfun