THE BRIDGE CLUB – MEDIUM

Performance & Reception

Saturday, Aug 4, 2012  |  6pm – 8pm

The Performance title, Medium, refers to both the collection and dissemination of otherworldly messages and to the formal material from which an artwork is created. The Bridge Club Performers will be seated on chairs suspended from the gallery walls and will respond to a combination of objects sound and projection to explore the intentional, wondrous and quasi-religious aspects of both art making and seeking the divine.

The Bridge Club is a contemporary visual and performance art collaborative comprised of artists Annie Strader, Christine Owen, Emily Bivens and Julie Wills. The Bridge Club’s interdisciplinary installation, video, live performance and digital media works are site- and context- specific, and each work investigates specific local histories, populations, contexts, stereotypes, expectations and conflicts. Performances and installations have taken place in both traditional and nontraditional venues, incorporating and responding to sites such as a hotel room, a city bus, an abandoned storefront, and a laundromat in addition to the traditional gallery or museum space. Each work is conceived in specific relation to its site and audience.

MATTHEW WEEDMAN – ORDER NO. 227

A solo exhibition by Matthew Weedman

August 17 – August 27, 2012

Through a blending of antiquated and digital techniques Weedman transforms cultural objects of desire and wonder, such as snap-off figurines and an Electrolux so that they manifest a glow of ownership over their own yearnings of the “better.”

“Order No. 227” refers to an order laid out by Joseph Stalin under the slogan “Not a step back.” Matthew Weedman employs Stalin’s systematic order of progress as an example of the inherent dysfunction in affixing ideologies to notions of progress and success. Through manipulating and decontextualizing objects, sound, and imagery Weedman explores a personal and social history of the post WWII era and the codification of American ideologies of progress and happiness that have shaped and continue to mold our experience and the inherent humanity behind that impulse.

ERIC ZIMMERMAN – ENDLESS DISHARMONY & TELLTALE ASHES

ERIC ZIMMERMAN

ENDLESS DISHARMONY & TELLTALE ASHES

Sep 7 through Oct 27, 2012
Opening Reception – Friday, Sep 7,  6-8pm

As part of a larger project by Eric Zimmerman, Art Palace will be host to collages, drawings, publications, and sound pieces. In conversation with the sister exhibition Telltale Ashes & Endless Disharmony at the Reading Room (Dallas, TX,) as well as the website http://endlessdisharmony.tumblr.com,  Endless Disharmony & Telltale Ashes at Art Palace provides fragments of image, text, sound, and information to form a patchwork narrative that literally and metaphorically bridges time & space.

With roots in the exploration of historical evidence and our systems of knowledge, Zimmerman’s work exposes as many correlations as it does contradictions.  Effectively a search for, and creation of, symbols, evidence, metaphors, and images that reflect our longing for the mysterious and unattainable, Endless Disharmony & Telltale Ashes / Telltale Ashes and Endless Disharmony simultaneously questions and informs our most illusive desires and motivations to come to terms with our place in the world.

Eric received his MFA from the University of Texas at Austin. His work has been shown in group exhibitions at The Re Institute (New York, NY), Horton Gallery, (New York, NY), and Seraphin Gallery (Philadelphia, PA), as well as solo exhibitions at the Austin Museum of Art (Austin, TX), and The Old Jail Art Center (Albany, TX).

PEAT DUGGINS – WREATHS

PEAT DUGGINS

WREATHS

Nov 3, 2012 through Jan 5, 2013

At the end of John Ford’s film, The Man Who Shot Liberty Valance, the character played by Vera Miles looks out a train window at the now-tamed American west and says to the film’s hero, played by  Jimmy Stewart,  “Look at it. It was once a wilderness, now it’s a garden. Aren’t you proud?”

Gardens occupy a space in between the built, domesticated world and the natural world. It is neither and both at the same time; a space in which nature is tamed and ordered for the intention of viewing.  Petals and lush greenery are cultivated in a garden, decay and violence are not.  Morphologically, a lady bug and a cockroach are nearly identical but the former is held to be auspicious and the latter repulsive. Romantic artists of the 18th and 19th centuries connected nature to the sublime, even the spiritual. Peat Duggings questions the way that nature is reduced to a fetish in his forth solo exhibition at Art Palace: Wreaths.

Wreaths explore the unique synergy of translating objects into drawings on a one-to-one scale. Duggins removes the external reference points so that the images of nature are understood outside of the context of art history, allegory, and narrative. Reduced to texture and pattern without symbolic meaning, the work in Wreaths becomes a sum of forces: patterns of embodied energy aimed at reclaiming the potent mystery of nature stripped away by aestheticization.

JAMIE DAVIS, KIRSTEN MACY, LUDWIG SCHWARZ, MICHAEL VILLARREAL- WABI SABI

WABI SABI

 

Jamie Davis

Kirsten Macy

Ludwig Schwarz

Michael Villarreal

A group exhibition about the beautifully irregular

Opening Reception: Friday, April 11, 2014, 6-8pm

Exhibition runs through May 24, 2014.

 

“Truckers love it all”
said the snow to the forest
and the road curled
are you serious
when you say that your mother
is in the river
is that brown or is
that green and where am I now
and why am I nude?
Haiku by Gene Morgan

CHARLIE MORRIS- TRIPPING ON PEBBLES…SINKING IN STONE

CHARLIE MORRIS

TRIPPING ON PEBBLES…
SINKING IN STONE

Opening Reception: Friday, May 30, 2014, 6-8pm
Exhibition runs through July 11, 2014.

A series of objects and scenarios, caught between the seemingly objective nature of photography, and the mental creation of tenuous narrative connections. The resultant meaning of which derives from a subjective internal construction.

JIM NOLAN- APROPOS OF NOTHING

APROPOS OF NOTHING

Jim Nolan

 

Opening Reception: Friday, May 30, 2014, 6-8pm

Exhibition runs through July 11, 2014.

 

Why and what-for? asks Jim Nolan in his second solo exhibition at Art Palace, APROPOS OF NOTHING. Fascinated by artificial flowers and the 99¢ stores that sell them, Nolan has assembled a series of sculptures, paintings and photographs that are equal parts formal and feral. The work in APROPOS OF NOTHING maintains the identity of its low-brow origin while performing as deadpan lyrical paintings and monolithic objects. Nolan addresses his ongoing concerns in a unique visual language, taking a decidedly blue collar stance to deliver poignant jabs at art history.

SUMMER SALTS

SUMMER SALTS

Opening Reception: Friday, July 18th, 2014, 6-8pm

Exhibition runs through August 16th, 2014.

 

Art Palace is happy to announce Summer Salts, a group show including Justin Boyd, Elaine Bradford, Jeffrey Dell, Peat Duggins, Nathan Green, Tatiana Istomina, Bradley Kerl, Joe Joe Orangias, Linda Post, Raychael Stine, Barry Stone, & Eric Zimmerman.

OOMPH- MICHAEL VILLARREAL

MICHAEL VILLARREAL

OOMPH

Opening Reception: Friday, September 5, 2014, 6-8pm
Exhibition runs through October 18, 2014.
Michael Villarreal‘s tactile paintings blur one’s ability to distinguish landscape from figure and movement from stillness. In a palette ranging from mouthwatering frosting to sallow drywall putty, his work polarizes the viewer between an accessible image and aloof painterly expression.  In the passages of Villarreal’s work, lines become ravines, figures become mountains, at once delicate and hasty.

FOOL’S GOLD- KATY HEINLEIN & ALIKA HERRESHOFF

FOOL’S GOLD

Opening Reception: Friday, September 5th, 2014, 6-8pm

Exhibition runs through October 18th, 2014.

 

The pairing of the work of Houston-based artists Katy Heinlein and Alika Herreshoff for Fool’s Gold highlights the rapport between two artists whose common interests play out in artworks that are formally distinct and yet startlingly kindred. While Heinlein’s sculptural works seem to acknowledge a distant but important relationship with the history of painting, they are free to explore the physical space of the room. Herreshoff’s paintings, on the other hand, insist on the graphic flatness of Pop and Color Field. Both artists employ a high-keyed palette and suggestive contours to create disorienting spatial distortions and synesthetic sensations, evidencing their common interest in the direct experience of color and shape. Despite this psychedelic sensibility for color, both Heinlein and Herreshoff exercise degrees of restraint, preferring simple forms and motifs to frenetic clutter. Perhaps one of the strongest bonds between these artists and their work is their common pursuit of formal beauty offset by and interwoven with deadpan humor. This purposefully flatfooted approach to abstract art tempers the sublime with the slapstick comedy of spoonerisms, belches, and blank expressions.

Katy Heinlein received her MFA in sculpture from Texas Tech University and her BFA from the University of Mary Hardin-Baylor. Katy’s work has been exhibited globally and locally through the Contemporary Arts Museum of Houston, Diverseworks, Lawndale Art Center, and Bryan Miller Gallery (CTRL.) She has collaborated on set and costume design for the Dominic Walsh Dance Theater for Spectre de la Rose, performed at Miller Outdoor Theatre and Zilka Hall. Katy lives and works in Houston, TX.

Alika Herreshoff received his MFA from Cornell University and his BFA from the School of Museum of Fine Arts, Boston. A former member of the artist collective Dearraindrop, his work has been exhibited at Deitch Projects (New York,) Schmidt Maczollek (Cologne, Germany,) and Loyal Gallery (Malmö, Sweden.) His work is currently on view in the group exhibition Mark Flood Resents (New York.) Alika lives and works in Houston, TX.

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