BARED opens Tonight

“Lee’s Lace,” egg tempera on panel, 24″x18″, 2016 by Susan Jamison

“Who am I?” Bronze and etched mirror, 11x6x6, 2014 by Belgin Yucelen

Come see these lovely ladies, and many more TONIGHT between 6-9pm.

BARED based on the anthology, Les Femmes Folles: The Women 2015 curated and edited by Sally Deskins, explores the gendered narratives that clothe and fashion the body as well as gender subversion and the traditional male gaze and will feature the following artists:

Kathy Crabbe, Courtney Kenny Porto, Libby Rowe, Chuka Susan Chesney, Stacy Howe, Teresa Dunn, Cathy Sarkowsky, Bonnie Gloris, Rosemary Meza-DesPlas, Susan Jamison, Susan DetroyEvelyn Katz, Belgin Yucelen, Suzanne Proulx, Lauren Rinaldi, Amy Cerra

 

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A Studio Visit with Gil Given

Gil Given is an artist living and working in Nashville. As a painter who recently gained some artistic momentum since retiring and committing to the studio full time, he submitted to Ground Floor’s 5th Annual Juried Show, Otherworldliness . His entered piece won Best of Show , earning himself a solo exhibition this October. The momentum is picking up speed now as Gil prepares for his show. He tells me he is aiming to complete 20 pieces; a feat only the devout artist could pull off by October. Gil is every bit of the word.

Gil was kind enough to not only welcome me into his studio, but his home where his paintings hang in every room like an architectural timeline of the work. When you enter his studio, the first thing that you’re bound to notice is jazz music permeating the room. This is to no surprise as one body of paintings are called his Jazz Series. He points to one newly finished piece and tells me that it is called Here Comes the Sun , based on Taj Mahal’s Woodstock album. The way he relates music to the pieces is inextricably tied to color, another personal interest.

When I press him about how the music makes its way in he tells me, “Color for me is what is most important. I’m interested in adjacents and the color wheel. I’ll take a single color and work the monochromatic-like the piece I showed you, Cerulean Falls . I like iridescents that shimmer, it adds a certain depth to color. A lot of it is basic color theory, and when you’re listening to music, just, how does it make you feel? Is there a brightness to it? The music of Dave Brubeck versus Miles Davis; there’s a different feel to that, so the color can affect it. The Jazz 2 piece is called

Cool Blues because, you know, Miles Davis; he was definitely the father of the cool jazz scene. But does that mean all of Miles’ music is blue? No.”

Gil is showing two other bodies of work in addition to the Jazz Series: Paintings for Narrow Spaces, and the Sentinel Series. When I ask him to explain the Sentinel Series, he says, “Think about a lighthouse in space.” Paintings for Narrow Spaces, he tells me, is exactly what it sounds like. Gil found himself interested in the architectural spaces that are small and overlooked. He began to see that some his pieces could find a home in the small spaces that always find themselves vacant.

Architecture seems to be of importance to his work. There was interesting relationship between the paintings and walls, ribbons and floor. Light from windows and lamps stacks out the color, and creates a second “shadow painting.” The angles of the pieces hung in relation to his home. Much of Gil’s early work was done on huge shaped canvases with an emphasis on line (think Frank Stella). He talks about the evolution from these paintings to what we will be seeing at Ground Floor: “I was doing these Stella-like paintings and started thinking- what if the color just left the canvas

and…plop. I made this piece that was 14 feet long and the stripes just sort of spilled onto the ground. That’s how the ribbon came to be.”

 

You can catch the work at our gallery during the month of October. Help yourself to some inspired listening in the meantime:

Miles Davis

Dave Brubeck

The Modern Jazz Quartet

 

  

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Les Femmes Folles Presents: BARED

Full of It by Kathy Crabbe

“Full of It” Kathy Crabbe

Dunn_Teresa_Andrew to Anna

“Transitioning from Andrew to Anna” Teresa Dunn

Ground Floor Gallery is excited to announce our next show. Please join us the evening of Saturday, August 5th, from 6-9 pm for the opening of BARED, an exhibition curated by Sally Deskins featuring the work of selected artists from the book of the same name published by Les Femmes Folles.

Deskins is currently Exhibits Coordinator for West Virginia University Libraries and founder of Les Femmes Folles, an organization providing a platform for women in all levels, genres and styles of art.

The show explores the gendered narratives that clothe and fashion the body as well as gender subversion and the traditional male gaze and will feature the following artists:

Kathy Crabbe, Courtney Kenny Porto, Libby Rowe, Chuka Susan Chesney, Stacy Howe, Teresa Dunn, Cathy Sarkowsky, Bonnie Gloris, Rosemary Meza-DesPlas, Susan Jamison, KA Letts, Susan Detroy, Florine Desmothene, Evelyn Katz, Belgin Yucelen, Suzanne Proulx, Lauren Rinaldi, Amy Cerra, and Marlana Adele Vassar.

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No. Inc. presents Art of the South 2017

“d’evils (these MFs)” Lester Merriweather

 

X no.5 (Honey Bees, Honey & Salt) Brent Dedas

 

We are pleased to be hosting our region’s annual Art of the South, presented by NUMBER: Inc., a quarterly visual arts journal hailing from Memphis with coverage throughout AL, AR, FL, GA, KY, LA, MD, MO, MS, NC, OK, TN, TX, SC, VA, or WV.

Join us Saturday, June 3rd, 6-9pm for a show that appears to be a cross-section of the contemporary rippling of art scenes across the southern region.

This show was curated by Mark Scala, Chief Curator at the Frist Center for the Visual Arts. Scala received an MA in in art history and MFA in painting from Virginia Commonwealth University. Having spent the better part of his life painting, Mark is himself an artist. His interests and exhibitions have focused on representations of the body in contemporary art.

There are 28 artists displaying at Ground Floor Gallery + Studios and the L Ross Gallery in Memphis simultaneously.

Artists showing at GfG include:

Amelia Briggs, a painter who has recently been working on bulbous “inflatable” appearing surfaces. Amelia has definite interests in children’s imagery and expression.

Brent Dedas, works in mixed media and recalls the intensity of abstract expressionists. His work explores dichotomies such as science and art, or destruction and creation.

Donald Furst, a printmaker who depicts architectural scenes at night. Many of his compositions focus on interiors that include an opening door.

Jaime Johnson, a photographer currently teaching at Ole Miss. Using cyanotype photography, she explores female identity.

John Jackson, a figural painter drawing from the neo-expressionists. His paintings center around our current relationship with technology. The work represented in this show differs greatly from this and marks his way into abstraction.

Joseph Holsapple, an artist who makes still life paintings of domestic items. He fills his images with childhood objects and leaves bits of the image unfinished, evoking the nature of memory.

Katherine Wagner, a pattern-based painter who takes cues from the loud patterned fashion of the 80’s. Much of her work is based on personal childhood experiences with visual pattern.

Lauren Yandell, an artist who works in graphite, collage, and installation while finding a balance between nature and geometry. She marries realism with the raw quality of drawing.

Lester Merriweather, an artist and curator that works in collage. Lester focuses his attention on racial relationships, capitalism, consumerism, and the myriad of ways these things intersect.

Michael Nichols, creates unearthly portraits using buon fresco, air brush, and silverpoint. His curiosity in introducing old and ancient mediums to contemporary art is reflected in the ghostly images he creates.

Victoria Tinsley, works in both sculpture and painting, creates surreal figures that morph into and out of each other.

Virgil (Cayse) Cheatham, a graduate of Yale University who currently lives in Atlanta, GA. He divides his time between creating erie landscaped-based paintings and working at the Zuckerman Museum.

If you can’t make it to the opening night of Art of the South, stop by during our regular gallery hours to check it out! We will be open Tuesdays, Thursdays, and Sundays, 5-8pm.

 

 

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“Dad in the 90’s” in Review

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Katherine Wagner’s Dad in the 90’s (a painting in our Otherworldliness show), is a synthesis of past and present.  A piece of found material supplies a foundational structure, an armature for a meditation on past experiences.  Inspired by textile and its ability to conjure the past, through palette and pattern, Wagner searches for fabrics that connect with an aspect of familiar associations. Using the found rhythms and structures within the textile, Wagner composes her own rhythm, adding shapes, colors, and disruptions, stitching pieces together, creating a wholly new composition. This piece speaks to a memory of a pair of swim trunks owned by her father back in the day- a cause for embarrassment at the time.  This piece seems to connect with that memory in a way that is more emboldened, an act of looking back on this aesthetic decision as a noteworthy moment in an inherited visual vocabulary.

by Amanda Joy Brown

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Close/Open/Review

Join us this Thursday night 5-8pm for a casual Closing Show/Open Studios where you can visit with art, artists and works in progress. Light snacks and yummy beverages provided.

In the meantime please see below for the review of Hot Water, an acrylic painting by Brianna Bass, written by another Otherworldliness artist, Katherine Wagner, and consider finding the perfect, small space for it in your home. This “world” reads big, but only measures 12” x 12” x 1.5″ and is really quite affordable. Hot WaterBrianna Bass’ painting Hot Water, on wood cradled panel, is visually guarded with strong vibrating colors that separate into different levels. Although the composition is cellular, seemly a place for your eyes to rest, you get bounced back outside of the cell to wander through the depths of a psychedelic, molecular world. This sensation of unrest relates to the title of the piece. Hot water can both burn and soothe bouncing between the two like the push and pull on the panel, bolstered through the use of pattern. The directional light, layered patterns, and color interplay all seem well thought out which leaves me wondering about the use of wood panel and how it relates to the rest of the work. Is it the pattern of the wood that allowed for the jump to exploring repetition in paint? Or maybe it is purely a support system for the piece. Either way, the piece is entrancingly busy and rich. Brianna Bass has created a world that I would hesitantly enter but gladly observe through the window she has provided.

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Review of Andrew O’Brien’s Photograph by Robert Fields

Now, nearly a week after seeing Andrew O’Brien’s untitled photograph… it remains a still & quiet reflection. 

What I first saw was a random array of vertical bands: thick, thin, solid to nearly transparent…a landscape sliced… which I had to linger over, and work at reading: near, middle and far. 

What’s unseen is the broader context in which to understand where I am standing.  What am I seeing, looking at or through? What’s real or am I imagining more than what’s there? Inside? Outside? 

What would be good to see in addition to this marvelous print… are the other photographs from his Curtain Wall Series, all side by side. Go to aophoto@gmail.com .

What I experienced from viewing O’Brien’s “untitled” was the sense of peering through another artist’s picture-window created by the narrow, white frame…a view into a mystery-chamber… a dream of time and place, trapped… encapsulated between triple, transparent plates.  

Can I now let it go? Do I? Maybe better asked: When will these thoughts and impressions let go of me?

~Bob Fields/ 4.17  

Gallery Hours for the month of April: Tuesdays and Thursdays 5-8pm or call to schedule private viewing.

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