For Immediate Release.
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.
Woman with Goat and Surgical Mask by Kharis Kennedy depicts an imposing, draped figure whose face is mostly hidden that brings to mind Madonna and Child, as well as ionography associated with purity and disease. Kennedy paints in contrasting light and dark colors to encourage the viewer to contemplate on what we instinctively reveal, or in the case of this painting, conceals.
The artist Adam Krueger and fashion designer Tableaux Vivants have teamed up to create wearable works of art. Their mask Take Out. Stay In. Lock Down explores the most intimate covering we all have - our skin - to investigate the physical and psychic barriers one creates to hide the vulnerable true self from the outside world. The mask was created from sewn together pieces of silicone tattooed with take-out menu imagery evocative of the comfort and security of staying in at night. The mask’s eye-slits that are opened and closed with zippers, bring to mind tools of sensory deprivation.
The installation Computer1, Untitled 1 & 2 by Victoria Manganiello & Julian Goldman elegantly embodies the history of the computer, from the automated loom through the use of the traditional skill of weaving, to today’s sophisticated technology as seen in the computer programmed dye patterns moving across the fabric through the clear tubes. Like the Luddites of the 19th century who destroyed the automated loom in fear that it would replace them, the concerns that automation and computerisation will render jobs obsolete persists today. This work examines how computers have also become analogous with textiles universal symbolism intimacy and protection. Manganiello opines “we are born into a swaddle and we die with a burial shroud.”
For her painting Xenia, Qinza Najm uses a Persian-style rug as her canvas to represent traditional domestic life throughout the Middle East. Painted in acrylic upon this backdrop is an elongated woman who appears to be stretching against the gossamer fabric that envelops her, exemplifying women’s struggle to attain empowerment and to participate in contemporary life and simultaneously fulfilling ingrained cultural expectations. The diaphanous veil itself is reminiscent of the hijab, the traditional head covering worn by some Islamic women, and an Arabic word that can be literally translated as ‘veil’ or ‘barrier.”
Cheryl R. Riley’s works Transcendence Preserved: Shovel I and Transcendence Preserved: Singer Sewing Machine I (image above, photo by Tatsuro Nishimura) explore ideas of identity and the impulse of preservation through these antique yet once quotidian objects reminiscent of her family history, which she encases in custom vinyl slipcovers. Her works are nostalgic in part because of familiar object inside yet also because of its covering that conjure memories of inhospitable living rooms furnished with plastic covered couches and objects not meant to be touched. Conversely, Riley’s applies gold paint where human hands would have touched the objects in their original use as functional tools, elevating the ordinary objects to sacred status.
This exhibition presents three printed sculptures by Ashley Zelinskie. These unique artworks titled: Android 3, Android 4 and AI Skull were created through 3D printing, with the binary code of the shape or DNA sequence of the subject being the very surface of the work in order to create objects that both humans and computers can understand. Although Zelinskie’s work contemplates the possibility of singularity with reverence and fascination the disquieting memento mori-like skull and cyborg imagery hint at the prospects for humans that the future may hold.
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
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)   contact for information
Lucy Mink, Swim, oil on canvas, 60 x 72 inches (152x183cm)   contact for information
(above) First Hangouts, 20 x 24 inches (51x61cm), oil on canvas. If You Want It, 20 x 24 inches (51x61cm), oil on linen.
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
Andrea Bergart, Alfalfa, (127x104cm)   contact for information
Copyright © 2018 by Barney Savage. All rights reserved.