T H E.. B R I D G E    C L U B


Opening Reception: Friday, September 11th, 2015, 6-8pm
Exhibition runs through October 24th, 2015.


Art Palace presents Cut, an exhibit of photographs and an opening-night live performance by The Bridge Club collaborative. The images on view offer glimpses of past performances by the Bridge Club from over the past two years. As the evidence of one anonymous collective persona realized by four agents, the tone of the photographs exists in the climate between camaraderie and isolation. The exhibit’s title refers both to the cinematic nature of the photographs on display and to the physical act of cutting, which will feature prominently in the performance. Cut will activate the gallery space where sculpture typically resides and reference the surrounding photographic images, creating a sense of placelessness and ineffable longing.

Recent works by The Bridge Club collaborative have been presented at Prospect 3+ Biennial (New Orleans;) Ulrich Museum of Art (Wichita, KS;) Flux Projects (Atlanta;) Ohio University (Athens, OH;) the New Genre Arts Festival (Tulsa, OK;) and the Museum of Contemporary Art (Santa Barbara, CA.) The Bridge Club, comprised of artists Emily Bivens, Christine Owen, Annie Strader and Julie Wills, works in live performance, installation, video and digital media and has been active since 2004.

U N T I T L E D . M I A M I 2 0 1 5

U N T I T L E D .    M I A M I    2 0 1 5



December 1 – 6, 2015

Booth D21
Miami Beach: Ocean Drive @ 12th Street


We are proud to announce a two-person presentation by gallery artists Barry Stone & Eric Zimmerman at the UNTITLED. Art Fair, held concurrently with Art Basel Miami . See you on the beach in booth D21!


P E A T .. D U G G I N S


Opening Reception: Friday, October 29th, 2015, 6-8pm
Exhibition runs through December 19, 2015.


The meaning of The Great White Whale is malleable. The White Whale is that which is outside of ourselves and though its presence is significant, its interpretation is up for grabs. Art Palace presents The Great White Whale, an exhibition of sculptures and drawing by Peat Duggins.
In The Great White Whale, Duggins continues to refine themes from previous bodies of work, in this case as a body of related sculptures. Emphasizing the discrepant seductive and repellent aspects of the natural world, Duggins uses a very limited palette of cast resin, charred wood, and dyed industrial felt to draw viewers into works that are at once meditative and grotesque.
The exhibition takes its title, of course, from Moby Dick. Duggins juxtaposes Melville’s allegory of the White Whale with the most sacred and auspicious symbol amongst America’s plains natives, the White Buffalo. In keeping with Duggins’ frequent use of film references, the White Buffalo also appears in the eponymous 1977 Charles Bronson creature-flick, itself a recasting of Moby Dick, in which Wild Bill Hickock teams up with Crazy Horse to exterminate the murderous beast. The sculpture White Buffalo rides the line between taxidermy trophy and shamanic talisman. The sculpture takes the form of a traditional mount but recast and tweaked so that it is unclear whether it is natural and relaxed or synthetic and disturbed.
The Great White Whale is about the power of nature, whether good, evil, or dumb-and-blind.


Simple Taste is Popular



Opening Reception: Friday, Jan 8th, 2016, 6-8pm
Exhibition runs through Feb 20, 2016.


Art Palace presents Simple Taste is Popular, an exhibition of paintings and works on paper by Bill Willis and Bradley Kerl. From found imagery devoid of grandeur, Kerl and Willis present painterly explorations of subjects lovingly rendered such as still lives from vintage Italian cooking magazines, mid-century cookbooks and vintage nudie playing cards, resulting in a quotidian landscape.

Willis and Kerl each describe the first leg of their creative process as sifting, scouring, surfing, or mining for source materials that are banal, kitschy, or decidedly “uncool”;  these castoff pictures are chosen for their readiness to accept fantastic and aspirational qualities. Equal parts garish and tender, the final works are fabrications of idealized, indulgent scenarios.

Willis and Kerl both hold MFA degrees from University of Houston, maintain a fresh and steady studio practices, and work as adjunct studio professors.



Opening Reception: Friday, February 26, 2016, 6-8pm
Exhibition runs through April 2, 2016.


Art Palace presents Vessels for Leaky Condos, a solo exhibition of sculptures by Charlie Satterlee. The Vessels are rooted in the tradition of studio ceramics although their functionality is undermined by the addition of commercial building materials such as cast concrete and polyurethane foam. In Amethyst or Actavis, a fractured piece of under-fired porcelain supports a form of cast concrete, from which a neck of unglazed stoneware protrudes. While both ceramic remnants quote a utilitarian vessel, the concrete removes all practicality. The exhibition takes its name from the Leaky Condo Crisis, an ongoing disaster in which thousands of condominium buildings along the Pacific Coast have accrued billions of dollars in water damage due to inappropriate construction and design decisions. Satterlee’s work references the negligence of the Crisis while poking holes in conventional studio ceramics.

The exhibition will be accompanied by a text by Ashlyn Behrndt. Vessels for Leaky Condos will run concurrently with Satterlee’s exhibition Recent Work at the Menil Bookstore, opening Thursday, March 3, 2016.

Charlie Satterlee’s work has previously been exhibited throughout British Columbia. He received his BFA from Emily Carr University of Art + Design (Vancouver, BC). Satterlee is a former editor of the art & writing journal SETUP, and a founding editor of a series of free pamphlets called The Bartleby Review. He currently lives and works in Houston, TX.


Opening Reception: February 26, 2015 | 6 – 8 PM
On view through April 2, 2016


For nearly a decade, Casey Williams visited Houston’s ship channel with the purpose of photographing the rich, abstract relationship between rusty oil tankers and the shimmering ocean that carries them.  Williams documented moments when the sun’s glare passed between the water and boats, each surface affected by the presence of the other. He created large scale work that often read as abstract paintings, befitting since the ships themselves had been repainted many times with bands of galvanizing varnish then paled with salt, rust, and time.

When Homeland Security prevented him from bringing his camera on board and his health kept him from traveling, Williams returned to his studio and revised old photos with slow, thoughtful strokes of luscious color. The resultant paintings are illustrations of an artist’s devotion to his practice. Making these “painted-ons” surely served as his way of getting back to the port.

Organized by his widow Jo Ann Williams and in conjunction with Fotofest Biennial 2016, Art Palace presents Back to the Port, an exhibition of Williams’ final efforts to understand the place that served as his muse for so many years.

Casey Williams (1947 – 2013) left a legacy based on his “found abstractions,” specifically his unique expression of Gulf Coast beauty. His work has been acquired by numerous museum collections, including the Museum of Fine Arts Houston, the Museum of Modern Art (New York,) the Bibliotheque Nationale (Paris,) and the The Contemporary Austin (formerly Laguna Gloria.) William’s work has been included in exhibitions at the Contemporary Arts Museum of Houston, Galveston Arts Center, New Orleans Museum of Art, Holly Johnson Gallery, Texas Gallery, Barbara Davis Gallery, and extensively throughout the United States. He earned his BFA from the University of Texas in Austin and MFA from the San Francisco Art Institute.

More on Williams’ signature Port of Houston series: Escaping the Galleria, by Saundra Goldman via the Texas Observer, 2000.

More on Williams’ struggle with the Homeland Security plan: Beauty and the Bureaucrats, by Lisa Grey via the Houston Chronicle, 2008.


Opening Reception: May 20, 2015 | 6 – 8:30 PM
On view through June 25, 2016


00 :: 00 is a moment in time, unearthed over a decade and a half after its creation. We witness a history lesson, the documentation of one’s habitat, a perspective forgotten, or perhaps one never even realized. How did we arrive in this place? Who brought us here? What were we doing then and how can the reflections of the past illuminate what’s changed and what hasn’t? It makes you wonder if everything that we move through doesn’t just add up to what it already was; a zero-sum game ever shifting in view.

Sally Glass is an artist, curator, and publisher based in Houston, Texas. She received her MFA from University of Texas at Dallas in 2014, and spent two years as an artist-in-residence at CentralTrak. Glass has participated in numerous solo and group exhibitions in Texas, the US, and abroad, at spaces such as Barry Whistler Gallery, Power Station, Dallas Contemporary, Oliver Francis Gallery, Crane Arts in Philadelphia, Orgy Park in Brooklyn, and Berlin Glas Gallery in Berlin. She is currently the founding Editor-in-Chief of contemporary art publication semigloss. Magazine and is managing co-director of the Gimp Room in Houston, Texas.




Opening Reception: May 20, 2015 | 6 – 8:30 PM
On view through June 25, 2016


Art Palace presents Cave Bacon, a solo exhibition of sculptures by Katy Heinlein. Using readily-available materials like wood, metal, and synthetic fabric, Heinlein produces sculptures that are comfortable with their close relationship to both painting and fashion. By reinterpreting a painting’s basic elements of a stretchers, “canvas,” and color, the materials transform into objects that share physical space with the viewer. The work actively demonstrates how perceptible qualities like color and light relate to the physical forces of tension, mass, and gravity.

Heinlein’s product is vague but suggestive; one can freely anthropomorphize the clever forms and carefully-considered nocturnal color palette. The work in this exhibition assumes a Rorschach quality, as the artist looks to inexact symmetry found in nature and the human body. Heinlein maintains ambiguity with her titles, and she chooses phrases that have buoyant, laissez-faire connotations. The exhibition’s title, Cave Bacon, refers to the dense flowstone deposits that drape across some cave ceilings, implausibly appearing supple, translucent, and light-weight. Though droll, Heinlein also winks at the allegory of Plato’s Cave, a story fundamentally outlining the correlative relationship between perception and reality.  Cave Bacon charms the viewer into looking over, under, around and through, requited with humor and cunning.

Heinlein received her MFA in sculpture from Texas Tech University and her BFA from the University of Mary Hardin-Baylor. In addition to her previous exhibitions at Art Palace, Katy’s work has been exhibited internationally 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. Heinlein lives and works in Houston, TX.




Opening Reception: July 8th,  6 – 8 PM
On view July 8th through August 13th, 2016


The Best Available Evidence was initially inspired by a found document compiled to prove the existence and legitimacy of unidentified flying objects (UFOs). Using the aforementioned subject matter, this body of work was created as a light-hearted way to play with the idea of proof and to question personal thresholds of belief. What indicates reliability? Truth? These standards are dictated by the tug-o-war of desire and cynicism. By manipulating the vulnerabilities of various mediums and, most importantly, context, new implications arise and connections are made between the mundane and the remarkable.
“In many such cases we are not unbiased observers. We have an emotional stake in the outcome–perhaps merely because the borderline belief system, if true, makes the world a more interesting place; but perhaps because there is something there that strikes more deeply into the human psyche.”
– Carl Sagan, Broca’s Brain: Reflections on the Romance of Science

Rebecca Marino is an Austin-based visual artist whose work focuses on cosmic perspective. She has been featured in TX National, grayDUCK Gallery, and by the Humble Arts Foundation. For the past two years she has acted as co-director and curator for pump project and is co-editor and co-founder of Conflict of Interest.


Opening Reception: September 16th,  6 – 8 PM
On view through October 22nd, 2016


Ask any given person, and Kevin Todora’s work could be described as photography, painting, or sculpture. These are only partial answers. By presenting images in unconventional formats, Todora minimizes the certainty associated with photography while creating something more authentic: objects with exposed substrates and the tell-tale signs of digital printing processes. The resulting work falls on the trajectory of artists like Jon Baldessari, Roy Lichtenstein and Andy Warhol. In the effort to sort through the visual information in this work, the viewer is practicing a criticism of images in contemporary culture. Todora will have an exhibition concurrently at Erin Cluley Gallery in Dallas, Texas.

Kevin Todora Lives and works in Dallas, Texas. His work has been included in recent group shows at Fort Worth Contemporary Arts, University of Texas at Dallas, and Barry Whistler Gallery. In 2013, the Dallas Contemporary produced a solo exhibition of Todora’s work. He earned his MFA from Southern Methodist University and his BFA from the University of Texas at Dallas.

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