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!
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.
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: 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.
Opening Reception: Friday, September 15th, 6 – 8 PM
On view through November 4th, 2017
Jeffrey Dell’s work has a generosity of space, imagination, and playfulness. Continuing his focus on the confluence of perception and desire, Future Castles draws upon pre-digital populist art histories ranging from ukiyo-e prints to US national park posters and sci-fi novel cover art. The forms in Dell’s screen prints linger between abstraction and realism, accommodating the graphic economy of Japanese print tradition and the visual seduction of trompe l’oeil. Dell is interested in the graphic shorthand that exists between image and symbol; it is a language that preserves mystery and reflection. The exploration of space is thorough and sundry in Dell’s work. Certainly, the use of starscapes and cloud-like forms evokes the cosmos, and the deft use of color and shading produces astonishing visual depth. Dell’s restraint leaves room for the viewer to forge their own personal associations between poetry, mysticism, and nostalgia.
Jeffrey Dell has headed the Printmaking department at Texas State University for 18 years and currently lives in San Marcos, TX. Recent exhibitions include the International Print Center of New York; The Print Center of Philadelpia; Rochester Contemporary Art Center; and Galleri Urbane, Dallas. Dell was commissioned by The LINE Hotel to produce two large unique editions for their newest location in Austin, TX, opening in 2018. Dell received his MFA from the University of New Mexico at Albuquerque.
