Help us congratulate the 22 artists, our Juror, Catherine Haggarty, selected for our upcoming 6th Annual Juried Exhibition, Rhythm & Rush:
Ground Floor opens another show August 2018 curated by one of our studio mates Matt Christy, see below for more info and don’t forget TODAY, July 15th, is the last day to apply for our open call Rhythm and Rush, juried by Catherine Haggarty
My Own Worst Enemy will run July 25-Aug 18, 2018
Opening Reception: Saturday, August 4, 2018 6-9pm
My Own Worst Enemy, curated by Matt Christy, opens August 4th during the Art Crawl and will feature some of his work and emerging artists Lindsey Campbell, Joe Christy, Kevin Dietz, Chris Worth. The exhibition formally opens with a Reception with most of the artists in attendance August 4, 2018 6-9pm. By appointment otherwise.
My Own Worst Enemy brings together five artists who make paintings with a sense of history’s painful, heavy weight and of the self’s own thin, fragile place inside that discourse. These artists’ narratives and dramas suggest the extreme individualism of our times, along with all its problems and melancholies.—Matt Christy
Lindsey Campbell, Untitled, 16″x20’’, acrylic on canvas
Joe Christy, Bring Your Own, 4’x5’, acrylic on canvas
We are very excited to be partnering with local artist, RD King and Extended Play to create an original art book that will document all the artists that submit to our 6th Annual Juried Exhibition–Rhythm and Rush. Deadline to submit is July 15th.
We will be presenting this book to our Juror, Catherine Haggarty, as a token of our gratitude and in honor of 2017 Juror Austin Thomas‘ words at the opening of Otherworldliness when she said she “could have created 20 shows” from all the amazing work that she reviewed. It is our hope that future shows, projects and relationships will be cultivated by this book.
Individual copies will be available for purchase through Extended Play, reserve your copy here.
Below is an interview to learn a bit more of David King’s process and inspiration by GfG Studio Artist, Sibley Barlow:
What got you started in publishing?
I’m interested in the personal, one-to-one exchange between artist and viewer. A book allows you to bypass the discomfort of experiencing art in a crowd of people at an art opening or a museum show. Reading an artist book puts you alone with the work, in a personal size that you can explore at your own pace.
I’ve been collecting artist books for a long time, and follow a number of small presses based out of other cities. I felt like a small artists book press was something that Nashville needed. Nashville has a strong history of galleries and independent artist spaces, but the exhibition can only be experienced during the run of the show. A book extends a body of work into a tangible object that can be viewed indefinitely.
Adapting artwork into a book format is a creative collaboration. Reading a book is an interactive experience for the viewer, so I like to include tactile, physical elements. When I was working with Jesse Butcher, I thought about how confrontational and subversive his photography feels. I decided to make a die-cut inset area in the pages of the last third of the book, leaving a hole, as though the book were a hollow Bible. Inside this hole I embedded a second, tiny handmade book of his more intimate line drawings.
Another artist, Jessica Wohl, is currently working with textiles. I designed her book to feel like a fabric swatch book that can be opened expansively, revealing many pages simultaneously as the views of her work zoom in and out.
What are you currently excited about in your art practice?
Book publishing hits an overlap between my interest in art and my interest in rebuilding machines. This comes out in my studio practice as well, I enjoy appropriating industrial machines for creative purposes. I’ve got an industrial plastic vacuum form machine that I’ve previously used to make crisp, white, large-scale work with found objects.
Currently I’m working on a series of original toys inspired by bootleg action figures, which will be encased in original handmade packaging, complete with accessories.
Are there any contemporary artists who are influences for you?
Richard Tuttle and John Gossage are both artists with extensive bodies of work who have also pushed the boundaries of what an artist’s book can be. I’ve also been collecting bootleg toys made by artists, such as ones by Mark Todd.
Our 6th Annual Juried Art Exhibition, Rhythm and Rush is right around the corner. We can’t wait to see the chosen work and our next soloist! Artists have until July 15th to apply, and you can submit here. Our juror this year is Catherine Haggarty. She is an artist, curator, and writer based in Brooklyn, New York. Haggarty earned her M.F.A from Mason Gross, Rutgers University in 2011 and is currently the co-director of Ortega y Gasset Projects in Brooklyn, New York.
Here is a short interview to learn more about her work:
Have you ever visited Nashville before? What is your impression of the city?
– I have not yet visited! I really would like to, I have heard nothing but good things about the energy and culture there!
Your paintings have an interesting juxtaposing relationship with the titles given to them. How do you choose titles?
– Titles happen poetically and as I work. They are loose, sometimes based off of songs and things I write about. I don’t want the titles to be a one to one relationship to the paintings – mostly, I try to name the titles a few steps away from the paintings.
You work on the edge of abstraction, but your paintings still seem grounded in space. Do you think of yourself as a landscape painter in any way?
– They are grounded in space. Often, when I travel I try hard to absorb as much as i can so that when I return I can challenge myself to recalibrate the space, the temperature and and the architecture of the landscape back in my studio. This is a challenge and I welcome the abstraction that happens from this translation. I suppose I am painting about landscapes but not in a typical way – they are also juxtaposed with forms I observe and draw. These forms narrate the landscapes.
Ground Floor artist Mandy Brown is currently featured alongside Katherine Wagner at Galerie Tangerine in their show Ruche. Katherine’s work was seen at Ground Floor Gallery in last year’s juried exhibition Otherwordliness. The two found an uncanny connection in their style and interest at that time. Both Wagner and Brown work with and are inspired by fabric and textile. They each use the material in albeit different ways, but each with the idea of memory involved. Brown’s work derives from the practice of recollection rather than direct observation, and Wagner uses memory in her work by revisiting the past. The parallels in their work make for interesting connections and a beautiful show. Ruche will be on view through July 6th at Galerie Tangerine, open weekdays 9-5pm.
Calling all artists, please submit your work to Ground Floor Gallery + Studios’ 6th Annual Juried Art Exhibition–Rhythm and Rush. We will be honored to have those submissions juried by Catherine Haggarty. As always, selected works will be chosen for the gallery show and a ‘Best of Show’ artist chosen from those will receive a solo exhibition. New this year, at least one image of ALL artists that submit will be included in a bound photo book Ground Floor presents to Haggarty as a gift.
– Rhythm and Rush seeks to find work that provokes movement, atmosphere, and speed in both conceptual and formal ways within all media. The ways in which the picture frame is questioned, expanded or uniquely considered while being provocative, contemporary and personal are elements of this show concept. The juror, Catherine Haggarty is curious about the ways in which the speed of image consumption, and image promotion affects artists today – or the ways in which it does not affect them. Rhythm and Rush is an open consideration to the lens in which we all are living and working in. Slow, fast, static, haptic, and rhythmic can be presented in many ways – we are seeking works that touch on these ideas in very specific, sensitive and strong ways.
Final submission deadline is July 15th, 2018. Rhythm and Rush will run from September 1st-October 20th, 2018. Notification for inclusion in gallery show August 1st. Work needs to be delivered by August 15th, ready to hang.
Catherine Haggarty, b. 1984, is an artist, curator, and writer based in Brooklyn, New York. Haggarty earned her M.F.A from Mason Gross, Rutgers University in 2011 and is currently the co-director of Ortega y Gasset Projects in Brooklyn, New York.
Haggarty’s paintings & curatorial work has been reviewed & featured in Hyperallergic, Two Coats of Paint, Brooklyn Magazine, The New York Times, Maake Magazine, Art Maze Magazine, The Black and White Project (UK), Sound and Vision Podcast and Young Space.
Exhibiting nationally and internationally for a decade, select shows include: Leftfield Slo & Hashimoto Contemporary (CA), The Provincial (MI), Tripp Gallery (London), N2N Gallery (NYC), Bridge Productions (Seattle, WA), CGK Gallery (Copenhagen), Art on Paper Fair (Armory Week), Projet Pangee (Montreal), Paper Paris (France), Geoffrey Young Gallery (MA) and Design Sublime (Miami, FLA).
Solo shows include This Friday Next Friday (NYC), One River School of Art and Design, Proto Gallery (NJ) and Look e Listen in Marseille France.
Teaching experience includes but is not limited to Rutgers University, Abrons Art Center, Princeton Day School, Philadelphia Mural Arts and One River School of Art and Design.
In 2018 Haggarty was a lecturer at Penn State in their Anderson Lecture Series and in 2016 was the juror of The Boston Young Contemporaries New England MFA Exhibition at Boston University and she has been a guest critic at Nars Foundation, Residency Unlimited, The Wassaic Project, Abrons Center for the Arts and Trestle Projects in New York City.