January 15 – February 19, 2011


– vb : 1. to put together substances or parts, esp systematically, in order to make or build (a building, bridge, etc); assemble 2. to compose or frame mentally (an argument, sentence, etc) 3. geometry to draw (a line, angle, or figure) so that certain requirements are satisfied;

– n : 4. something formulated or built systematically 5. a complex idea resulting from a synthesis of simpler ideas 6. psychology a model devised on the basis of observation, designed to relate what is observed to some theoretical framework.

Mixing the elements of traditional sculpture–its mass, volume, and solidity–with the possibilities of drawing, Jillian Conrad’s work has one foot in the world of objects and the other in the world of the imagination. Through an interplay of material surfaces, Conrad creates sculptures that tend towards the flatness of an image and drawings that slide into dimensionality. The new works in Construct plainly show the step-by-step decisions that went into their assembly, as if they came from a long lost book of architectural plans. Materials from the world of building are composed with a sense of play and rigor, resolving into constructions that toggle between image and object, illusion and reality, humor and beauty.

About the Artist:
Jillian Conrad recently completed the Core Artist-in-Residence program at The Museum of Fine Arts, Houston and is currently an Assistant Professor in the Sculpture Department at the University of Houston. Her work has been exhibited at Nurture Art, Brooklyn, the Bronx Museum, and the Aldrich Contemporary Art Museum, Ridgefield, CT. Later this spring, Conrad will present new work at Socrates Sculpture Park in Long Island, NY and a solo show at the Hunt Gallery in St. Louis, MO.



February 25 – April 2, 2011

In his debut show at Art Palace, Today is TomorrowJim Nolan combines the aesthetics of working class labor and underground music culture with the language of Minimalism to create off-hand and irreverent installations, sculptures and photographs. The stereo speaker stands in for the Minimalist cube in Nolan’s new work “There Was No Encore”, a wall-scaled assembly of outmoded speakers. Nolan mars High Minimalism’s precision through purposefully DIY gestures that ask the viewer to consider discarded cultural artifacts and everyday materials for their formal qualities as well as their cultural content.

About the Artist:
Jim Nolan’s work has been exhibited at the Metropolitan Museum of Art, Sara Meltzer Gallery, New York, Tastes Like Chicken Art Space, Brooklyn and DEEPSPACENEWYORK. Most recently, Nolan collaborated with Mick Johnson on (v)=Variable Project. His work has been covered in Time Out New York, New Art Examiner, and Artnet.



April 8 – May 14, 2011

Reception: April 16, 2011, 6-8pm

Linda Post explores how perception and individual position can be examined in experiential video installations, sound works, media sculpture and photography. Wherever presents a group of discreet works that extend her exploration of the site-specific to the idea of the ideal exhibition space as a neutral non-site. The white cube is addressed as nowhere, or, wherever. Within the individual works, a choreography of the everyday emerges as simple everyday actions are performed and systematized.

About the Artist:
Linda Post has exhibited her work at PS.1 Contemporary Art Center, the Museum of Modern Art, and the Hirshhorn Museum. Most recently, Post’s video Moon (Watch) was exhibited in CPQ: CQ100 at the Center for Photography at Woodstock. Post has been covered in New York Times, Artforum, Art in America, and Time Out London.



May 20 – July 2, 2011

Nathan Green’s work explores the visual language and structural qualities of abstract painting. By combining the tropes of modern abstraction with contemporary craft techniques and common construction methods, Green creates idiosyncratic works that evade categorization and blur the boundaries of their medium. Inherent in all of Green’s work is a palpable sense of playfulness, experimentation, and a curiosity that becomes the guiding force on a search for the ecstatic.

About the Artist:
As a founding member of the Okay Mountain Collective, Nathan Green has recently presented new works at Freight & Volume, New York; Prospect 1.5 New Orleans, University of Houston’s Blaffer Gallery and the McNay Museum in San Antonio, Texas and Pulse Miami (Pulse Prize Winner). Most recently Green’s solo work has been featured in the New Art in Austin: 15 to Watch exhibition at the Austin Museum of Art, and The Texas Biennial.



September 9 – October 8, 2011
Opening Reception – September 9 (6-8pm)

Seth Alverson received his Bachelor of Fine Arts in Painting from the University of Houston, in 2002 and his Master of Fine Arts from Virginia Commonwealth University in 2010. This will be Alverson’s third solo exhibition with Art Palace. He has also exhibited his work in group exhibitions, including Exit Strategy, White Box Gallery, New York; Death of a Propane Salesman, Fort Worth Contemporary Art Center, Fort Worth, TX (2009); Group Show, Reynolds Gallery, Richmond, VA (2009); 30th Anniversary, Lawndale Art Center, Houston, TX (2009); Where Are We Going?, Austin Museum of Art, Austin, TX (2008); Houston Area Exhibition, Blaffer Gallery, Houston TX (2008); The Siren’s Song, Arthouse at Jones Center, Austin, TX (2007) and New Texas Painting, DiverseWorks, Houston, TX (2006).



October 15 through November 12, 2011
Artist Reception – Saturday, October 15 6-8pm

Darkside of the Rainbow, Barry Stone’s first solo show at Art Palace, takes its title from the common practice of playing the 1939 film The Wizard of Oz and Pink Floyd’s Darkside of the Moon (1973) album synchronously. Just as the superimposition of film and album suggests new associations emerging from the juxtaposition of seemingly incongruous elements, so too do Stone’s groupings of photographs, drawings, collage and paintings.

Stone places a photograph of a rainbow that seems to project from a man’s head at the seaside alongside abstract paintings of imagined dark portals, abstractions from vintage heavy metal music magazines, and digital rainbows created from press photographs. Placed within a fluid architecture-characterized by repeating motifs, contradiction and fantasy-any image grouping may suggest multiple meanings. Stone’s work revels in and lays bare the constructions of our image fantasies; in these works fact and fantasy fold into one another to create hopeful visions and yet offer dire warnings.

Barry Stone has exhibited nationally, at venues including the School of the International Center of Photography, New York; The Contemporary Museum in Baltimore; Klaus von Nichtssagend Gallery, New York; Ok Ok Gallery, Seattle; Marcia Woods Gallery, Atlanta; Tiny Vice’s, New York, and Arthouse, Austin. His work has been covered in the New York Sun, Art lies, The Photography Post, and Artnet.


GRAND OPENING – Black Friday, Nov 25, 2011

Tue – Sat 4pm – 9pm
Nov 25 – Dec 23, 2011

Art Palace presents: ART MARKET, a unique holiday-art-boutique-gallery-festive-shopping experience that explores the different expressions of the word “market” in the world of art and commerce.

From Claus Oldenberg’s The Store (1961) through Damien Hirst’s manipulation of the art auctions, artists have addressed the relationship between art and commodity using various aspects of the consumer market as a medium in their work. ART MARKET pays homage to these and other distinctive moments in art history over the past 50 years with the intent of making the transactional exchanges and relationships transparent- between artist and gallerist, gallery and patron, art and commerce.

Limited editions and smaller-scale artworks from these Texas-based artists will be on view and available for purchase.

Take a break from the mayhem on Black Friday and stop by the opening reception 5-10pm on November 25, 2011. All works in the market range from $20 to $2500. Ten percent of profits will benefit TOYS FOR TOTS.


a view from there


Jan 13 through Feb 25, 2012
Artist Reception – Friday, Jan 13 6-8pm

a view from there: Nina Rizzo, Sonya Berg, and Carrie Cook create paintings that apply aspects of the sublime to the contemporary landscape. Each artist employs romantic attitudes towards nature and a lush materiality to their painted surfaces as they negotiate between representation and abstraction. In a series of small-scale, yet grand works, Sonya Berg considers nature in its “wild” form as it approaches the fantastic. Nina Rizzo uses charged color and ambiguous space to create uneasy images of landscapes, both real and imagined. With an openness towards her materials, Carrie Cook creates collages and photographs that she then translates into paintings in her search to understand awe. In each artist’s work, painting is a vehicle to explore our psychological relationship with the land.


Kyle Young


Mar 7  –  Apr 2  2012

PUSH PLAY is exactly what Kyle Young has done recently.  Taking a pause from his studio to work on other ventures, he has picked up the remote and pushed ‘play’ again.  Returning to the studio has proven to be a continuation from where he left off approximately eight years ago.  His early works of cellular forms have slowly evolved into abstractions and have a clear and progressive ‘push’ in this body of work, now showing at Art Palace, Houston.

PUSH PLAY reveals a kind of unit, or wholeness, mirroring the nature of the world, in which the viewer struggles to exist between the flow and flux within the unit itself.  Young’s use of colors and shapes, reduced to the curvilinear segments and deliberate portions of the whole, create a tension and a pull, or a ‘push’, between the two fields, creating a new whole.

The definition of whole, containing all components of something complete and not divided or disjointed, is exactly what Young forms through the use of reduction.  Reducing the ‘wholeness’ to an assemblage of the elements, by the path and direction of destruction and division, allows for a new wholeness to emerge.  The new whole begins where the division and destruction ends.

In the progression of Young’s works, beginning more than 20 years ago, the biological references and influences  have always maintained a  natural system that is open to outer influences.  Briggs and Peat write that most works are viewed as a closed coherent entity within the flow of events around them.  However, Young takes the evolution of his cellular shapes to the point of “maintaining their identity only by remaining continually open to the flux and flow of their environment.”  The pieces in PUSHPLAY represent an exposure to the viewer, and the reception by the viewer puts the context of the work’s environment into a range of experiences, understandings and perceptions.  All natural systems are engaged with outer influences and PUSH PLAY is once again, open for reception.




Apr 13 through May 19, 2012
Artist Reception – Friday, Apr 13 6-8pm

In 1984, Mike Beradino sat for hours at his Commodore 64 writing code to produce representational images on the digital screen. Combining the successes and failures of technological advancement that have occurred since then, Beradino  manipulates this history of consumer technology prompting questions about digital mediation, the functional obsolete, and our collective notion of progress. Freq Out explores the recursive cycles between the physical world, psychological space, and digital environments.

This body of work utilizes a variety of antiquated consumer technologies in a attempt to construct meaning from the digital devices that surround us and mediate our daily lives. A centralized theme of the work is an investigation of the distortion of media itself, often occurring through a process of recursion. Many of the works translate information while exploring the limitations of our ability to truly understand the vector of the message.

Mike Beradino lives and works as a practicing artist and adjunct professor in Houston, Tx. He has a BFA from School of Art Institute of Chicago & MFA from Parsons The New School of Design. He has recently shown at Postmaster’s Gallery (New York), The Joanna (Houston), Vertexlist (Brooklyn), The Kitchen (New York), Arthouse at the Jones Center (Austin), and Rice University’s EMERGEncy Room (upcoming).

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