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


After years of building a tongue-in-cheek vocabulary based on the histories of modern abstraction, hardware store materiality, and traditional crafting techniques, Nathan Randall Green is simplifying his language in his ambitious task of reexamining the act and history of painting. Over the Sunis an exploration into the formal and structural qualities of abstract painting. In the studio, Green is influenced by a diverse set of interests, ranging from Paleolithic rock carvings to Particle Physics and Bedouin rugs to the Bauhaus. These interests are coupled with a studio practice that fluctuates between different styles and modes of working at once, simultaneously painting and building to create pictures that address their own physicality, as well as the labor they were born of.

The work in Over the Sun is fulfilling an earnestly romantic notion; Green is attracted to the universality and timelessness sought by many abstract painters over a century ago, including Kazimir Malevich. Existing as experiments in form, line, color, and texture, these paintings can function as a respite from the objective world. Over the Sun exhibits the contemporary relevance of playful energy, generosity, and the Russian Constructivist’s idea of the “primacy of pure feeling.”

Most recently, Nathan Randall Green has exhibited new work at Mulherin New York, Hus Gallery (London, UK), Disjecta (Portland, OR), and the Goss Michael Foundation (Dallas, TX.) His work has been part of exhibitions at the Contemporary Arts Museum Houston, Austin Museum of Art, Left Field SLO (CA), LVL3 (Chicago, IL) and he completed the 2012 Artist in Residency program at Central Trak (Dallas, TX). As a founding member of Okay Mountain collective, Green has exhibited at Mark Moore Gallery (Los Angeles, CA) Freight & Volume (New York, NY), Prospect 1.5 (New Orleans, LA), University of Houston’s Blaffer Museum and DeCordova Sculpture Park (Lincoln, MA). Green lives and works in New York, New York.




Opening Reception: October 28th,  6 – 8 PM
On view through December 17th, 2016


Deborah Roberts’ second solo exhibition at Art Palace continues to address Black women’s progression through centuries of socially-constructed limits on beauty and power. Roberts advances her mixed-media portraits of motley girls, appropriated limbs, torsos, facial features, and hair styles. Each portrait, and their sum, is a conscious remark about inclusion and dignity in contemporary culture.  Combining mature pouty lips and posture with child-like bare feet, school-girl plaid, and twisted pigtails, Roberts comments on the sexualization of pre-teen Black women: Black girls are not asked to be young. Each collaged element carries different scale, complexion, age, and personality, fusing together into a picture of otherness with unique character and agency.
For this exhibition, Roberts adds focus to text, addressing the stigma of urban-sounding names, colorism, and natural hair, divisive issues rooted in Black cultural identity. Loaded phrases, rhythmically printed and painted across the works resemble chants of protest. Roberts is locating her work within a history of raised voices, providing future cultural artifacts during this climate of civil unrest. Working in the vein of social commentary, Roberts consistently and skillfully relates the weight of beauty, perception, and honor to the greater life experience for people of color.
Deborah Roberts is a 2016-2017 Pollock-Krasner grantee. She is a recipient of the Ginsberg-Klaus Fellowship, the Presidential Point of Light, and Syracuse Graduate Fellow Award. Recent honors include exhibitions at the George Washington Carver Museum (Austin TX,) the National Museum of Mexican Art (Chicago IL,) and ongoing participation in the Viewing Program at the Drawing Center (New York NY.) Roberts completed the Ox-Bow Art Residency and earned her MFA from Syracuse University. Roberts lives and works in Austin, TX.




Opening Reception: January 13th,  6 – 8 PM
On view through March 4th, 2017

Art Palace is proud to present Seen, the first solo exhibition by Houston painter Sarah Fisher. Working in oil on canvas, Fisher continues the tradition of portraiture with her vivid likenesses of people she knows, loves, and encounters. These portraits arouse a sentimentality that is scarce in contemporary painting; Fisher’s ambition is to record the need to be authentically seen.
Often cropped tight and to the edge, the figures in Fisher’s human-scale paintings peer directly at the viewer. Fisher is not overly concerned with the physical settings, and does not hesitate to revise or omit structural elements. She instinctively situates the sitter within the frame of the canvas, organizing the pictorial space with emotional fidelity. In places, Fisher harmonizes the sitter and setting. In one work, she blends a man’s shirt collar into the color field laying beyond; in another, a woman’s yoga pant clad lap sinks into a light-devouring black velour chair.
Fisher honors the subjects in her work with skillful and exuberant observation. Her work shows respect toward the very human process of seeking comfort and self-love.
After a long career in marketing, Sarah Fisher moved to Houston where she is currently a studio fellow at the MFAH Glassell School’s BLOCK program. Her work has been featured in several local exhibitions and her previous studio practice includes studies at the Hampstead School of Art in London.


Your Body is a Battleground

Curated by Wendy Vogel

March 1-5, 2017 | PIER 90, New York

Deborah Roberts & Art Palace have been invited to participate in Wendy Vogel’s curatorial project, Your Body is a Battleground, presented this year at the VOLTA NY art fair. Roberts’ work addresses Black women’s progression through centuries of socially-constructed limits on beauty and power. The Austin-based, 2016-17 Pollock Krasner grantee was featured in ‘I Know Why the Caged Bird Sings’ at George Washington Carver Museum & Cultural Center and is an ongoing participant in the Viewing Program at The Drawing Center (New York). We hope you’ll join us!


Opening Reception: Thursday, March 9th,  6 – 8 PM
On view through April 15th, 2017


Art Palace presents works on paper by Rene Cruz in the Project Gallery. Cruz’s drawings function as puzzles with familiar features, skewed just enough to provoke a neurological phenomenon. The human brain connects lines and abstractions with just enough help from our memory and understanding of anatomy. Cruz’s portraits are not illusions themselves; they describe the moment it takes to fill in the gaps.
Cruz lives and works in Houston, TX. His work has been featured in local exhibitions since 2005, including presentations at Lawndale Art Center, The Joanna, and Domy Books. Cruz is a member of the artist collective Sketch Klubb…chances are he’s drawing right now.


Opening Reception: Thursday, March 9th,  6 – 8 PM

Artist talk with Christina Rees: Saturday, March 11th at 1PM

On view through April 15th, 2017


Raychael Stine’s third solo exhibition at Art Palace, Higher Love, presents paintings born out of the moments when we are present enough to witness the love of the world. For over a decade Stine has featured her dogs in her paintings, the dog representing a big, risky, ecstatic, innate kind of love. Stine gets her color palettes by directly referencing intimate experiences and things around her, like the rainbows over the Sangre de Christo mountains of northern New Mexico, a pair of her sneakers, as well as other paintings in her studio and previous palettes from other works. One of Stine’s main objectives is approaching transitional space as transformative space; she explores the possibilities that dwell in the shallowest of areas, like behind a painting or between stacked postcards. A variety of marks and strokes hover together, disobeying natural perspective and creating room for the viewer to look, explore, and dream. Stine’s dexterity allows the paint to exist as image and material simultaneously: sometimes thin, veiled and illusionistic, like a shadow, other times chunky, goofy, and insistent straight off a palette knife. The canine figures emerge from this playful synchronicity of strokes and styles, appearing from a place we don’t know as well as the one we physically live in. Like a dream, we can only find this place when we pay attention and believe. For Stine, being present serves as an enormous opportunity to experience what life has to offer: joy, suffering, humor, wonder, loss, ecstasy, and higher love.
Raychael Stine is an artist living in Albuquerque New Mexico. She holds a BFA from University of Texas Dallas and an MFA from University of Illinois Chicago. Stine has exhibited at Central Features (Albuquerque, NM), Eugene Binder (Marfa, TX), Rhona Hoffman (Chicago, IL), Common People (Brooklyn, NY), Denise Bibro Gallery (New York, NY), Road-Agent (Dallas, TX), Marty Walker (Dallas, TX), and Leviton A + D Gallery (Chicago, IL), among others. Stine is the recipient of the Dallas Museum of Art Degoylier Grant, the Stone Award at University of Illinois Chicago, The Gendler Fellowship and residency at the Bemis Center, and the residency at the Jentel Foundation. She is Assistant Professor of Painting and Drawing at the University of New Mexico.


March 31 – April 2, 2017

Palmer Event Center … Booth #10


Art Palace is hitting the road for our second year of Art City Austin. Visit us in booth #10 to see some of our favorite works by Mike Beradino, Jeffrey Dell, Sarah Fisher, Bradley Kerl, Katy Heinlein, Jim Nolan, Deborah Roberts, Anthony Sonnenberg, Raychael Stine, Casey Williams, & Eric Zimmerman.


Opening Reception: Friday, April 21st,  6 – 8 PM
On view through June 3rd, 2017


DAILY, IN A NIMBLE SEA is an anagram of BAILEY ISLAND, MAINE, where a tiny stretch of coastline is incessantly transformed by the interactions of fog, sun, and tides. When the tide goes out, a rocky field of seaweed is revealed. To walk across it is to traverse the ocean floor in the open air. It is a magical place, and for seven summers I have watched my children grow and change against this backdrop. Photographs put up a feeble defense against the passage of time: the still image halts the waves from breaking, only to paradoxically heighten our awareness of their inevitable movement forward.
-Barry Stone, excerpted from DAILY, IN A NIMBLE SEA
DAILY, IN A NIMBLE SEA is Barry Stone’s fourth solo exhibition with Art Palace, as well as the title of his forthcoming monograph. Stone’s practice is built on the multiplicity of photographic images; these malleable realities are produced in duplex. In some images, the camera alone documents distortions of light, scale, color, and time. In others, a process called data-bending shuffles the digital code of the photographs, resulting in gestural anomalies.
The exhibition arranges ten images of a deserted shore, a place of hourly transformation, with one image of his daughter. The cyclical, infinite grandeur of the ocean is cunningly matched against the temporal narrative of past, present and future. DAILY, IN A NIMBLE SEA materializes the idea that fantasy and reality yield to each other in perpetuum.
Barry Stone’s work has most recently been exhibited at GAA Gallery Project Space (Cologne, Germany,) The Lianzhou Photography Festival (Lianzhou, China,) and Klaus von Nichtssagend Gallery (New York, NY.) His work has been acquired by esteemed collections including The Museum of Fine Arts, Houston, the Cleveland Clinic, and Fidelity Mutual Corporation Collection. Stone is a founding member of artist collective Lakes Were Rivers and holds a BA in biology and MFA from the University of Texas in Austin. He is an Associate Professor and Coordinator of the Photography Program at Texas State University’s School of Art and Design. Stone lives in Austin, TX.


Opening Reception: Thursday, June 8,  6 – 8 PM
On view through July 15, 2017


Mike Beradino’s second solo exhibition at Art Palace, break, is a presentation of digital and tangible mediums responding to digital mediation, simulation, and Jean Baudrillard’s notion that “we live in a desert of the real”.

In break, Beradino uses 3D printed objects and custom laser cut panels to explore the relationship between the intangible virtual object and the real world simulation of said objects, challenging the viewer to analyze objects as simulations. At the risk of being overly reductive to the moment in Plato’s Cave where a group of prisoners only know the world through the shadows cast on a cave wall, the shadows represent a false vision of the truth, an illusion about reality. In Plato’s Cave, the prisoners have never seen the true objects that exist in the world, the objects which are casting those shadows, they believe the shadows are all that is. Beradino’s work Fox Skull (laser etched panel) is the shadow of the virtual object begging the question, what is the object?

Beradino’s work incorporates custom hardware and software to call attention to the ever-present and pervasive presence of digital mediation. Beradino’s process includes using 3D scans and archives found in the online repository of the Smithsonian. Through manipulation and reduction of polygon count, flattened versions are laser etched to create a minimalistic index referencing the “original” virtual objects. The flattened panel illustrating the shadow of the virtual creates a referential loop; the command “break” is used to stop or exit a loop in code.

Mike Beradino lives and works as a practicing artist and educator in Houston, TX. He has a BFA from The School of the Art Institute of Chicago & a MFA from Parsons the New School of Design. He has shown at Postmasters Gallery (New York, NY), The Kitchen (New York, NY), Art House Jones Center( Austin, TX), The National Science Foundation, (Arlington VA), and participated in the GIFER Festival ( Turin, Italy).

JIM NOLAN Matter-in-the-World/Ideas-in-the-Head

Opening Reception: Friday, Aug 4th,  6 – 8 PM
On view through September 9, 2017


Art Palace presents “Matter-in-the-World/Ideas-in-the-Head,” a solo exhibition by Jim Nolan. Nolan’s sculptures and wall work are a take on what he refers to as blue-collar minimalism, using readily available dollar store and hardware store materials to both lampoon and laud minimalism.

In “Matter-in-the-World/Ideas-in-the-Head,” Nolan focuses on the vertical axis, employing quotidian textiles and objects to make “paintings” with a corporeal effect. In “Ideas-in-the-Head/Large Bouquet,” a fleece blanket printed with a flash-filled close-up image of artificial flowers hangs from grommets and a bounty of artificial flowers lies on the floor directly beneath. Not only does the material choice prompt the viewer to question the value of the art object, but the sculptural elements become a form of resistance to the passive viewing experience of traditional painting.

The title of the exhibition was inspired by a Carl Andre quote: “it is most appalling to be cast incessantly as a conceptualist when my sculpture has nothing to do with ideas-in-the-head & everything to do with matter-in-the-world.” By inverting Andre’s conviction, Nolan asserts that he is more interested in ideas in the head than matter in the world.

Jim Nolan has most recently presented a solo exhibition at CentralTrak, (Dallas,) and a group exhibition at the Satellite Art Fair (Miami,) with Tiger Strikes Asteroid. He has previously exhibited at the Metropolitan Museum of Art, Sara Meltzer Gallery (New York,) the Soap Factory (Minneapolis,) and ArtMoving, (Brooklyn,) and his work has been acquired by the Museum of Fine Arts, Houston. Nolan holds a BFA from Virginia Commonwealth University and an MFA from Massachusetts College of Art. He currently lives and works between Nagcodoches, TX and Brooklyn, NY.

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