Cindy Ji Hye Kim & Keiran Brennan Hinton
Curated by Teto Elsiddique
May 1 – May 28, 2017
Opening Reception Friday, May 5, 7-10pm
do you ever wonder if the cool kids cry?
do you every wonder who they confide in?
do you every wonder who holds them at night and means it?
This is the first summer I won’t be attending any camps and next year is going to be completely different. I promised myself no $3 Taquitos at 7/11, never to hang with Bridget again and that I would do 2 miles everyday.
I’m leaving it all behind like I ran past John, I’m leaving all those dicks in the wake of my reflection.
Mari Eastman: The Mini Mini Mini Retrospective
April 1 – April 28, 2017
Opening Reception Saturday April 1, 6–9pm
Bruce Martin Gallery is pleased to present Mari Eastman: The Mini Mini Mini Retrospective, a solo exhibition of works by Mari Eastman. There will be an opening reception on Saturday, April 1, 6-9pm with refreshments on sale to benefit the Richmond Reproductive Freedom Project. The exhibition will be on view through April 29 by appointment only.
Mari Eastman is a mixed-media artist whose heart belongs to a relatively old-fashioned form of picture-making. She veers from painting to drawing to illustration and beyond, working on canvas, on paper and on the wall. Her paintings willfully engage the fictions of the world around us. Where that world is consumerist, her art is consumptive. Thrilling and amorous, earnest and conflicted, her works are rooted in traditional subject matter and technique turned upside-down with additions in glitter, sewing, jewelry, and cut canvas.
Eastman received her MFA from the School of the Art Institute of Chicago. Her work has been included in exhibitions at the Berkeley Art Museum (Berkeley, CA); Hammer Museum (Los Angeles); Orange County Museum of Art (Newport Beach, CA); Contemporary Arts Forum (Santa Barbara, CA); Santa Monica Museum of Art (Santa Monica CA); Honolulu Academy of Art (Honolulu, HI); and the Japanese American National Museum (Los Angeles). She has been the subject of solo exhibitions at Emily Tsingou Gallery (London); The Suburban (Oak Park, IL); Karyn Lovegrove Gallery (Los Angeles); Sies + Höke (Dusseldorf, Germany); Sprüth and Magers Projekte (Munich, Germany); Cherry and Martin Gallery (Los Angeles CA); Monte Clark Gallery (Vancouver BC); and Galleri Nicolai Wallner (Copenhagen, Denmark).
Special thanks to Daliya Jokondo for their help.
March 4 – March 24, 2017
Opening Reception Saturday March 4, 6–9pm
Bruce Martin Gallery is pleased to present Deep Itch, a solo exhibition by Justine Melford- Colegate. There will be an opening reception on Saturday, March 4th, 6-9pm and the exhibition will be on view through March 24 by appointment only.
“It is white and shiny, amorphous and fresh, passive and obstinate in its only Vice: gravity, which possesses exceptional means to satisfy this vice: circumventing, piercing, eroding, filtering ... it collapses ceaselessly, renounces every form, only tends to humiliate itself, lies on its stomach on the ground, almost like a corpse, like monks of certain orders. Always lower: such is its motto: the opposite of excelsior.” — Francis Ponge, ‘Verre D-Eau’, 1999
The site of the tongue, the organ of taste and self expression, becomes the site of aesthetic and philosophical negotiations in which bodily processes and self-consciousness run in parallel and interact with each other. An examination of alternative forms of sensuous knowledge, with the irreducible otherness of ingestion and digestion, the work explores the uncomfortable contents of subjective experience.
Justine Melford-Colegate (b. Isle of Sheppey, UK) hails from London and is currently part of the MFA Sculpture program at Yale School of Art.
No Rootless Flower
February 4 – 27, 2017
Opening Reception Saturday, February 4, 6–9pm
Bruce Martin Gallery is pleased to present No Rootless Flower, a solo exhibition of works by Sofia Leiby. There will be an opening reception on Saturday, February 4th, 6-9pm and the exhibition will be on view through February 27th by appointment only.
Leiby presents a site specific installation that continues her investigation into parallel
and alternative critical systems within artistic methodologies and gesture-making such as psychometrics, the field in psychology where drawings are analyzed to reveal notions of a subject’s personality, and handwriting analysis. Revisiting an obscure creativity test called the Barron-Welsh Art Scale, she invites viewers to test their own creativity and evaluate the creativity of the artist by creating of a “testing” setting that includes painterly explorations containing both self-invented formats and appropriated gestures.
A sort of stimulus material (figures drawn in black ink) was identified to possess such has characteristics that artists and non-artists differ significantly in their likes and dislikes for the stimuli when asked to sort them into two groups.1 Two classes of preferences for these figures have been distinguished on the basis of a factor analysis: preference for simple-symmetrical figures, and preference for complex-asymmetrical figures. Informal study of persons at opposite poles of this second dimension suggested that those preferring simple, symmetrical figures were enthusiastic, optimistic, conservative, organized, and conventional; whereas those preferring complex-asymmetrical figures were cynical, pessimistic, depreciative, overtly hostile, and
in general rather socially dissident. Two prescient observations at this time were that all of the artists in the sample scored toward the complex-asymmetrical pole, and that even those who were not artists appeared to possess good taste. Frank Barron was himself one of the 143 experimental subjects, and also the individual who pointed out the “good taste” of those favoring complex-asymmetrical stimuli.
Special thanks to Amanda Barnes, Gabriella Ostini, Brennen Perry and Kira Ratliff for their help.
Maybe I’m Just Tired
December 16 – January 15, 2016
Opening Reception Friday, December 16, 6–9pm
Bruce Martin Gallery is pleased to present the work of Bryan Jabs & Michael Stablein Jr.; two artists currently working in Philadelphia, PA.
Mourning, relief, & sweet release, are sentiments that permeate the works on display. Both artists attempt to confront what happens when an urgent attempt at transcendence backfires.
Jabs has been listening to Neil Young’s On the Beach lately. The album’s sense of thwarted escapism is captured in Pissing in the Wind, a sculpture inspired by a quote from the song Ambulance Blues:
And there ain’t nothin’
like a friend
Who can tell you
you’re just pissin’
in the wind.
When soaked in our own piss, what do we do next? How might we transform a self–defeating impulse into something productive? In a state of exhaustion, the need to be supported by – and held accountable by – those around us becomes all the more urgent.
Bryan Jabs (b. Hamilton, Bermuda) lives and works in Philadelphia, PA. He received his MFA from Columbia University, in New York.
Michael Stablein, Jr. (b. Houston, TX) lives and works in Philadelphia.
Ficus Interfaith Research & Properties
November 18 – December 9, 2016
Opening reception Friday, November 18, 5–8pm
Bruce Martin Gallery is pleased to present Ficus Interfaith Research & Properties. There will be an opening reception on Friday, November 18th, 5–8pm and the exhibition will be on view through December 9th by appointment only.
What’s beautiful about the stories we tell each other is the agency we have to pick up, recreate, bend and build new stories. It is our weapon against history– that denser, less malleable narrative that feels out of our control. For as science is to truth, history holds no candle to what we make of it.
Ficus Interfaith presents three sculptures for their exhibition at Bruce Martin Gallery. A light–box, a door and a blocked window conspire to reflect on the historical events being mythologized before us.
Ficus Interfaith Research & Properties is organized by Ryan Bush (b. 1990 Denver, CO) and Raphael Cohen (b. 1989 New York, NY) and based in New York City. Ficus Interfaith R & P have exhibited at venues including: Proxy in Providence Rhode Island, R+K Projects, The Sunbeam Gallery, U.S. Blues and The Manila Pharmacy in New York City among others. They have collaborated on projects including Magasin, a print portfolio curated by David Borgonjon in Beijing in 2014, and are currently working on “High Brow Low Brow Fish Consumption” with Tyler Steinbrenner.
Ashley Teamer: The Writing’s On The Wall
October 14 – November 6, 2016
Opening reception: Thursday, October 13, 6–9pm
Ashley Teamer’s work is a manifestation of black female liberation. In these images she transforms WNBA players into super heroes searching outer space for a new home that recognizes their greatness, skill, and perseverance. These women finally able to liberate themselves from the hierarchies of Earth embracing their future while destroying their past. Teamer views the restricted consciousness of her African–American existence through this landscape. Narratives by John Akomfrah and Octavia Butler have inspired her to create a world shaped by black excellence, freedom, and a carefree people through painting. She uses time as a dimension in her work to expand the scope of the image. Transforming physical rectangles into portals to an alternate reality.
Ashley Teamer returned home to New Orleans in 2013, where she was immersed in a performative and artistic community. In summer 2014 Ashley was accepted into Skowhegan School of Painting and Sculpture. There, she began questioning her traditional painting practice and took her first step into video and performance. Inspired by this exploration Ashley created the persona, Drifter a mysterious and passionate man found in bars across New Orleans. In summer 2015 she attend ACRE residency in Wisconsin. An experiment with stop–motion animation inspired her to begin blurring the lines between painted and digital images.
September 16 – October 9, 2016
Opening reception: Friday, September 16, 6–9pm
Jillian Mayer is an artist and filmmaker living in South Florida. Her work explores how technology and the Internet affects our identities with concern for issues of sexuality, and spirituality thought a theoretical post–singularity. With comedic satire, performance and interactive research technology, her videos and sculpture propose and question ways to deal with the technological singularity of our time.
Mayer’s video works and performances have been premiered at galleries and museums internationally including: MoMA, MoCA:NoMi, BAM, Bass Museum, the Contemporary Museum of Montreal with the Montreal Biennial (2014), Solomon R. Guggenheim Museum, New York; Peggy Guggenheim Collection, Venice, Italy; Guggenheim Museum, Bilbao, Spain; and Deutsche Guggenheim, Berlin, Germany. and film festivals such as Sundance, SXSW, the New York Film Festival and over fifty others. She has been featured in Art Papers, ArtNews and ArtForum discussing identity, Internet and her artistic practices and influences.
Mayer is a recent recipient of the prestigious Creative Capital Fellowship for 2015, the South Florida Cultural Consortium's Visual/Media Artists Fellowship 2011 and 2014, Cintas Foundation Fellowship 2012, and was named one of the “25 New Faces of Independent Film” by Filmmaker Magazine. She is also a fellow of the Sundance New Frontiers Lab Program for 2014, the Elsewhere Residency as a NEA Southern Constellation Fellow, a recipient of a Harpo Grant and the Zentrum Paul Klee Fellowship in Bern, Switzerland for 2013. Mayer is represented by David Castillo Gallery, Miami, FL.