LIGHT MATTER a TOP PICK by FITZ & CO

PST ART: Art & Science Collide is now in full swing.

Now in its third edition, Pacific Standard Time in Los Angeles brings together over 800 artists, 70 exhibitions, and institutions throughout all of Southern California with one central theme: the collision of art and science. The landmark arts event brings the community together to spark meaningful conversations on today’s most urgent issues. Project topics range from climate change and environmental justice to the future of AI and alternative medicine.

“Los Angeles right now is the most creative city on earth at any time in history,” says Michael Govan, the CEO and Wallis Annenberg Director of participating museum LACMA.

Swipe through to see some of our top picks for PST ART, on view across California.

1. ‘Fred Eversley: Cylindrical Lenses’ at David Kordansky Gallery | Installation view of ‘Cylindrical Lenses,’ 2024. Image courtesy of David Kordansky Gallery.

2. ‘Lia Halloran: Night Watch’ at Luis De Jesus Los Angeles | ‘Lia Halloran: Night Watch.’ Image courtesy of Luis De Jesus Los Angeles.

3. ‘Lita Albuquerque: Earth Skin’ at Michael Kohn Gallery | Installation view of ‘Earth Skin,’ 2024. Image courtesy of Michael Kohn Gallery.

4. ‘Light Matter’ at William Turner Gallery | Casper Brindle, “Cuboid 4,” pigmented acrylic, 36 x 15 x 15 inches. Image courtesy of William Turner Gallery.

5. 'Los Angeles Water School (LAWS)' at Morán Morán | Installation view of ‘Los Angeles Water School (LAWS), 2024. Image courtesy of Morán Morán.

6. ‘Max Hooper Schneider - The Unknown Masterpiece’ at the Virginia Robinson Gardens. Presented by Del Vaz Projects, Francois Ghebaly Gallery, and Marc Selwyn Fine Art | Robinson Gardens Pool Pavilion. Image courtesy of Robinson Gardens.

7. ‘Shirazeh Houshiary: The Sound of One Hand’ at Lisson Gallery | Shirazeh Houshiary, “Aurora,” 2023, Pigment and pencil on Aquacryl on canvas and aluminum, 190 x 190 x 5 cm, © Shirazeh Houshiary, courtesy Lisson Gallery.

8. ‘Helen Lundeberg: Inner/Outer Space’ at Louis Stern Fine Arts | Helen Lundeberg, “Cloud Shadows,’ 1966. Acrylic on canvas, 153 x 152.4 cm, courtesy of Louis Stern Fine Arts.

About Fitz & CO…
A growing global footprint continues to make FITZ & CO. a serious player for arty clients with worldwide profiles. About to enter its 25th year, Sara Fitzmaurice’s 20-person agency still reps Art Basel; Gagosian; Storm King Art Center; and brands like BMW and eBay, for whom FITZ & CO. builds artist partnerships. Equinox just tapped the firm to get closer to (real) art/culture influencers, and Mastercard engaged FITZ & CO to extend its Priceless campaign into the cultural sphere. Also in the agency’s collection: ultra-blue-chip international gallery Almine Rech; Dubai’s Alserkal Avenue arts/culture district; Denmark’s ARoS Aarhus Art Museum; ART021 Shanghai Contemporary Art Fair; and the Faurschou Foundation, which operates spaces in Copenhagen, Beijing and NYC.

LIGHT MATTER - PST ART: ART & SCIENCE COLLIDE - Exhibition Catalog Now Available

William Turner Gallery is pleased to present Light Matter, the first of two exhibitions, in partnership with the Getty’s PST ART: Art & Science Collide, which explore the intersections and influences between art and science.

Light Matter showcases the influences of scientific research on artistic process and intention, and builds on a collaborative experiment that began with LACMA’s innovative Art & Technology program, a collaboration between artists and industry that ran from the late 60s to early 70s.  As part of this initiative, Robert Irwin and James Turrell collaborated with NASA scientist and psychologist Ed Wortz at the Garrett Corporation. Together they developed a series of art and science-based investigations into the dynamics of perception, with a special emphasis on sensory deprivation. This intrigued Irwin and Turrell, who began to notice that perceptions were heightened after sessions in sensory deprivation tanks. Perhaps, they reasoned, the purpose of the work of art wasn’t as much about the work, as it was about the experience of perceiving the work.  Enter Light & Space in Southern California, where the emphasis shifted from looking at art as “object”, to art as “experience”.

Artists in Light Matter continue to expand on this notion, experimenting with the possibilities of their materials, often through scientific research and innovation, to achieve heightened visual effects that engage the viewer in the wonder of the phenomenology of perception. They utilize materials and approaches that  inspire the viewer to reflect - not only on “what” they are perceiving, but “how”. Many of the pieces require the viewer to interact with the works in unexpected ways - either by encouraging unusually active movement around, or stillness before, their works. The act of viewing engages the senses and heightens our sense of perception.

Light Matter includes work by Dawn Arrowsmith, Larry Bell, Casper Brindle, Shingo Francis, Jimi Gleason, Eric Johnson, Jay Mark Johnson, Peter Lodato, Andy Moses, and Roland Reiss.

Mark Steven Greenfield Opening Tomorrow at the Ronald H. Silverman Gallery at Cal State LA

AURAS: New Icons by Mark Steven Greenfield
in collaboration with William Turner Gallery
curated by Mika M. Cho
 
August 19 – October 22, 2024
Artist Reception:
Saturday, August 24, 2024, 5 - 8 PM

Ronald H. Silverman Fine Arts Gallery
5151 State University Dr, Los Angeles CA 90032
MAP

Francisco Manicongo, 2024, Acrylic and Gold Leaf on Wood Panel, 20 x 16 in.

“My work concerns itself with the complexities of the African American experience, both historically and in contemporary society. The work often revolves around a number of themes which include subjects as diverse as African American stereotypes, spiritual practices, social justice, meditative practices and abstraction based on my interpretation of the process by which images are formed in the subconscious.” – Mark Steven Greenfield
 
Mark Steven Greenfield is a painter of phenomenal insight, exemplified by his upcoming exhibition “AURAS: New Icons by Mark Steven Greenfield.” The majority of his paintings in this exhibition are presented for the first time at the Ronald H. Silverman Fine Arts Gallery. These images draw upon issues that have been at play regarding the black identity and black history in the United States. These two series are reflective of the spirituality that permeates the black psyche and reach back into the earliest of experiences of their presence on the American continent or even before, as well as their exposure to the European narratives and their appropriations by the Christianized Blacks. Haloconveys the black spiritual experience through various social, political, and religious signs and symbols by appropriating the icons of the colonizing Europeans.

AURAS, 2024, Acrylic and Gold Leaf on Wood Panel, 30 x 40 in

AURAS: New Icons by Mark Steven Greenfield

ARTIST RECEPTION
Saturday, August 24, 2024, 5 - 8 PM

Conversation between Artist, Mark Steven Greenfield and Art Critic, Shana Nys Dambrot
September 28, 2024, 2 - 4 PM

5151 State University Dr, Los Angeles CA 90032
MAP

Scot Heywood Exhibition

SCOT HEYWOOD

Born in Los Angeles in 1951, Scot Heywood has been investigating geometric abstraction for over forty years. “I painted flat from the get-go,” Heywood says, who has explored abstraction throughout the course of his artistic career. A self-taught artist, Heywood’s works are indebted to the origins of geometric abstraction. In the late 1970s, Heywood fell in love with the paintings of Piet Mondrian and John McLaughlin; since then, he has been translating the austere philosophy of geometric abstraction into his own monochromatic works. 

Ranging in scale from intimate to encompassing, his paintings consist of multiple, colored canvases, connected in staggered, patchwork patterns. In a seemingly endless array of variations, he inserts thin strips between, or attaches them to the sides of, square and rectangular canvases, intentionally misaligning them to create delightfully disruptive, staccato visual rhythms. Heywood is interested in the relationship between wall, work, and viewer, and in the rich dialogue between color and form.

Heywood has shown extensively in Southern California since the late 1970’s at such as significant galleries as Patricia Faure Gallery, Frank Lloyd Gallery, ACE Contemporary Exhibitions and Subliminal Projects Gallery. His work has been featured in dozens of solo shows, and is often included in significant group exhibitions at The Los Angeles Institute of Contemporary Art, San Francisco Art Institute and Otis College of Art & Design. Heywood’s work has been featured in publications such as the Los Angeles Times, Art in America, Art Slant, LA Weekly and Artweek. His paintings are also represented in numerous public and private collections, including the Frederick Weisman Foundation. He currently lives and works in Los Angeles, California.

Melanie Pullen: Voyeur Digital catalog is now available to view

"The best fashion photographs can remind us of other works of art or expand the boundaries of the genre, redefining what a fashion photograph is supposed to do or be. 

The photographs that do both are the ones that excite me the most. For example, the work of Melanie Pullen (b. 1975) represents a relatively new type of fashion photograph — one that was made for artistic reasons and celebrated by the fashion press after the fact. Based on crime-scene photographs that she found in police archives in Los Angeles and New York City, Pullen’s work reverses the aspirational nature of most fashion photographs, celebrating instead the darkly romantic idea of dying young, beautiful, and well dressed. As an image of suicide, Half Prada flies in the face of the industry’s claim: buy our products and your life will improve. The waist-down cropping keeps what would have been the picture’s most disturbing aspect out of the frame, while the undone shoe strap becomes, in Roland Barthes’ terminology, 'the punctum disrupting the perfection of the image.' The viewer is simultaneously attracted to and repelled by an image that is virtually impossible to forget."

Paul Martineau 
Curator of Photography 
The J. Paul Getty Museum 

MELANIE PULLEN: VOYEUR

Voyeur marks Melanie Pullen’s first solo exhibition at William Turner Gallery of large-scale photographs from her highly acclaimed High Fashion Crime Scenes and Voyeur series’. 

Born in New York City in 1975, Melanie Pullen is a self-taught fine-art photographer raised in a family of photojournalists, publishers, and artists. Growing up within the halls of the famed Hotel Chelsea, Pullen was immersed in this avant-garde setting, which greatly informed her artistic practice. Bi-coastal from an early age, Melanie spent her formative years between New York City and Los Angeles.

Pullen’s work focuses extensively on both social values and taboos while purposely taking aim at the media’s exploitation of sex, gender, and violence. Pullen herself has noted that she targets society’s obsessive glamorization by literally re-dressing what are deeply disturbing events, forcing the viewer to question their own values and observations.

Her photography has been shown in major museums and galleries internationally: it is permanently in the holdings of many of the most prominent public and private collections around the world: Museum of Contemporary Art (MOCA), Jacksonville, Florida; The Frederick R. Weisman Museum of Art, Pepperdine University, Malibu, California; Museo Jumex, Mexico City, Mexico; Howard Stein & the Forward Thinking Collection, New York, New York; Walker Art Center Museum, Minneapolis, Minnesota; The Rand Collection, Santa Monica, California. 

Most recently the Getty Museum acquired several pieces from her High Fashion Crime Scenes which now reside in their permanent collection after being included in their exhibition: Icons of Style: 100 Years of Fashion Photography.

Pullen’s work has been featured in a number of publications including: The New York Times, T Magazine; Los Angeles Times; Vogue; Esquire Magazine; ELLE; London’s Independent; Spin Magazine; W Magazine; Flaunt Magazine; 1814 Magazine; Rolling Stone Magazine and Vanity Fair. 

Melanie was awarded the prestigious D&D Yellow Pencil Award in 2007 and has published three photography books, two with Nazraeli Press, the other with Kodansha.  She currently lives and works in Los Angeles, California.

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VISUAL ATELIER 8 - An interview with Casper Brindle, Master of Light, Color, and Sensory Exploration

VISUAL ATELIER 8

An interview with Casper Brindle, Master of Light, Color, and Sensory Exploration

Image: Rob Brander for William Turner Gallery

Exploring the enchanting world of Casper Brindle
Jaimy Favela Le

Casper Brindle, a contemporary artist rooted in the 1960s & 70s Light and Space movement, explores the expressive possibilities of color, light, and form in his paintings. From vibrant technicolor to subtle monochromatic hues, Casper Brindle’s work consistently features a central focus, drawing viewers into enigmatic spaces of perception. Influenced by the Finish Fetish and Light and Space movements, he masterfully employs color reminiscent of Mark Rothko and Jules Olitski, creating immersive fields that evoke deep emotional responses.

Casper Brindle’s paintings, influenced by Southern California’s car culture, utilize airbrushed sprays for atmospheric depth, demonstrating a synthesis of diverse artistic sensibilities. Born in Toronto in 1968, Brindle, now based in Los Angeles, has exhibited internationally and is held in prestigious collections like the Frederick R. Weisman Art Foundation.

It is an incredible occasion to be able to chat with Casper Brindle about his awe-inspiring and sensory artwork! We would love to know what you think your child-self would think of you now as such an accomplished artist? What do you think little Casper would say to you? And what would he think about your expansive body of work? Is he glowing with pride?

Thank you for the kind words. I think Little Casper would be happy with my accomplishments so far. There is something innately childish about being a professional artist. Experimenting and “playing” with the materials in front of you. I could compare it to the feeling of playing with toys in the preschool sandbox. I am forever grateful to have had such a supportive mother, a terrific illustrator and designer in her own right. I’m deeply fortunate that I am able to make a living doing what I’m very passionate about.

What a wild trip it is to take in your illuminating works that seem to unfold more of themselves, the more you spend time with them and interact with the space them. We would love to know more about how you went from utilizing LED tubes for lighting up a painting to now being able to skillfully achieve an effect of illumination by using only color. What was the process like for you personally?

Yes, for years I was incorporating and embedding LED lights into my paintings and never really found what I was looking for. I was yearning for a certain magic, a more organic quality which the artificial light provided by the LEDs could never achieve. What most interests me is the manipulation of light, whether it be with refraction in an encapsulated form, such as the light glyphs, or using paints that intentionally transform as you walk around the works. Materiality is a primary principle of my practice as I have spent years experimenting with the applications of different materials.

Your work speaks to the auras felt when perceiving colors, light, a core, and atmospheric spaces. Contemplation about perception and connecting with the presence are a couple things that come from immersing oneself in your body of work. Do you think your work reflects these experiences from the living world or is it its own concentration of sensory conjuration?

Both. I think the materials are a grounding force for the pieces, whereas the treatment and color perception of the materials allow for the pieces to become almost otherworldly. However, the orchestrated fabrication of the pieces reflects the organized chaos of both the natural and the built environment that surrounds us.

What dream settings do you envision your colorful works in? Are there particular places in the world that you hope to bring your art to?

Of course, artists are always fantasizing about ideal settings for our work – Museums, major collections, within prominent public and architectural venues. I am no different and have been thrilled to have my work acquired and shown by museums, like the Weisman Museum, The Luckman, Lancaster Museum of Art, the new Frank Gehry hotel in LA and by a number prominent collectors. Looking ahead, I have an exhibition planned in Brussels at Gallery La Patinoire Royale, Valerie Bach, in April of 2024 and will be showing new paintings and sculpture that I am presently working on and excited about.

Soon following, I will be focused on my Los Angeles exhibition in September at the William Turner Gallery. Possibly less traditionally, I’d love to explore placing my work in “atypical” settings: a foggy forrest, a beach, a desert. Changing the context changes the piece. A glowing object in the middle of nowhere tells a much different story than a painting hung on a white wall of a gallery. Hmm, could this be a short film? You’ve got the wheels turning!

We also know that you are also a sculptor. Can you divulge a bit about how this way of creating your art differs in from how you approach making your paintings? Taking something that you typically form on a 2D surface to a 3D realm?

The three dimensional work is more of an elaborate, organized process, compared to the typical trance I’m in while I’m painting. With my paintings, I’m just going on rapid fire instincts in a meditative state. With the sculptural work it’s about logical problem solving. Like a puzzle. The Light Glyph sculptural works are expanded iterations of the Portal Glyph paintings -They just extend into three dimensions. Both explore the same theory, but within different mediums and materialities.

Maybe a comparable example is the painter as an actor and the sculptor as the director in theater or film. The actor is always reacting to a situation in front of them instinctively, but the director (sculptor) is planning the entire vision out before the production has begun. Two different processes for me, neither better than the other. Although, I enjoy the visceral process of painting more, both outcomes are equally fulfilling.

What does abstraction mean to you? Describe to us the way you philosophize the human senses in response to abstract visualizations that imbue a particular experience.

I’m in search of something beyond, something that can be truly simple and complex. Making my work is a selfish act, as I’m making the painting or sculpture solely for myself, to release it from my mind, without thinking about how they will be seen or felt. It’s a place where I can be hyper focused yet, in a meditative state. The artwork may be used as a conduit for the viewers own experiences, but I would never force a narrative onto them. Abstraction to me is being free of story telling or narration. To create a work based on raw emotions or even lack of emotions. Free of rules. The freedom to dance any way you like.

What does the process of dreaming up a painting or sculpture look like for you? Is it the case that the end result always matches the first drop of inspiration?

My paintings or sculptural works come to me usually in solitude, whether that be just before bed or alone in my studio. With my paintings, I may have an idea to explore, but rarely do they end up visually resembling my initial thoughts. I find in painting the decisions are made quickly and based on instinct. Sculpture for me is a much more thought out concept as you are dealing with construction and fabricating a well explored object with prototyping all while aiming to achieve the concept that was originally in my head.

What has been a major highlight for you as an artist so far? What sort of new things are you seeking to further your creative endeavors? Any personal revelations that you wish to share over the years?

My highlights constantly change as I grow, but a recent noteworthy highlight was working with Mika Cho who curated my Museum exhibition at The Luckman space at California State University Los Angeles. It was a phenomenal show and experience. Cho’s execution
and presentation were terrific. Constantly thinking of new ideas, projects, materials and collaborations, I know there is always something inspiring around the corner. It’s important to do the work you enjoy as opposed to chasing trends. I believe that if you do your own thing, a thing you are truly passionate about, everything will eventually fall into place.

ANDY MOSES: Recent Paintings - Exhibition Catalog Now Available

A 68 page fully illustrated print copy of the catalog will be available next Tuesday. Please contact the gallery to purchase a copy at info@williamturnergallery.com.

William Turner Gallery is pleased to present the exhibition catalog for Andy Moses: Recent Paintings, a compelling exhibition of new large-scale works by Los Angeles-based artist, Andy Moses. The exhibition will run from September 9th through November 11th, 2023.

Recent Paintings is an excitingly ambitious new body of work, showcasing an artist fully engaged and at the height of his creative process. Blurring the line between abstraction and a new kind of pictorialism, Moses utilizes techniques that facilitate his almost obsessive study of the alchemical properties of paint.  

Utilizing a method that is completely unique and developed outside the realm traditional painting techniques, Andy has pioneered a new language of paint, one with its own tools and materials.  Every element of these pieces have been painstakingly examined.  Technology in the form of complex vacuum sealed chambers has been invented to assist in producing the works and even the structures on which the painting rests are extraordinary engineering feats of their own.  The end result are stunningly beautiful, highly crafted, and perfectly executed works of art done in a method that has never been seen on any painting in the entire history of art.  

Born in Los Angeles in 1962, Andy Moses attended the legendary CalArts from 1979-1981, studying with John Baldessari, Michael Asher and Barbara Kruger. In 1982, Moses moved to New York where he worked as a studio assistant to Pat Steir and quickly became part of New York's nascent art scene. Moses began exhibiting with Annina Nosei Gallery, shortly after Jean-Michel Basquiat. During that time Moses also developed close ties with artists such as Jeff Koons, Marilyn Minter, Rudolf Stingel and Christopher Wool, who were also just emerging onto the scene.

“I’ve always loved Andy’s work. It’s interesting how it embraces many dialogues within the history of painting, from nature, landscape and science to abstraction. The paintings embrace everything while at the same time a sense of negation is always present. This polarity allows you to discover your relationship with the work itself. There’s always a sublime beauty within the work. The commingling of time and space, both real and abstract, is one of the the most relevant aspects of Andy’s work to me. Moses’s work is powerful and extreme, from the beginning to today, in concept and execution.”

- Jeff Koons

Andy Moses’ work is included in the permanent collections of Los Angeles County Museum of Art, Orange County Museum of Art, Laguna Art Museum, and the Frederick R. Weisman Art Foundation.   Andy will be the subject of two forthcoming museum exhibitions one at the Lancaster Museum of Art and History and the other at the Laguna Art Museum and was recently the subject of a 30 year survey at the SMC Barrett Gallery.  

ART REVIEW - White Hot Magazine / Andy Moses: Recent Paintings

By LORIEN SUÁREZ-KANERVA September 11, 2023

Andy Moses’ Recent Paintings will be showcased at the William Turner Gallery in Los Angeles from September 9 until November 11, 2023. Moses Recent Paintings’ distinct color use encompasses a predominantly white, blue, black and gold palette. All-white color tints, shades, and their lustrous variability are at play amidst clear, sharper, fluid lines, and softer open gradations, leading toward ethereal spaces. Moses’s sensibility spans a buoyantly luminous subtlety and achieves a refined definition through a meticulously grounded and richly orchestrated embodied perception. Maurice Merleau-Ponty pointed to embodied perception as the experience of the self in an environment at the crucible towards forms of relatedness that reveal meaning and expand perception.  

Geomorphology 1607, Acrylic on canvas, over concave wood panel, 57 x 90 inches, 2023

Fiber Birren, Johannes Itten, and Carl Jung address the subject of color each through a psychological vantage point, cultural nuances (like Jung’s groundbreaking study of mandalas of the East by introducing these to the West), and Color Theory. The sensorial effects of color suggest a responsive universality based on similarities that bridge cultural bounds.  In his works “Color and Meaning” and “Color and Culture,” John Cage supports these observations on color's meaningful effect on sensorial understanding across cultures.   Most salient in Moses’ works is the combination of white and blue, where black shifts through a reflective play with light toward shades of blue. From these earlier scholars' observations, colors such as whites speak of clarity, illumination, and spirituality, and blues inspire serene tranquility and introspective depth.

As a countertone, gold's earliest cultural associations with the sun's radiant power extend the hue's significance to encompass wealth and prominence. For Jung, gold represented the self's individuation process, stimulating wisdom and enlightenment—likewise, Itten and Birren associated illumination and divine inspiration with gold. Extensively, gold in East Asia, including Japanese 18th-century iconography, signifies wealth, power, good fortune, and divinity.

Geomorphology 1606, Acrylic on canvas over concave wood panel, 57 x 90 in, 2023

Moses shares the American Transcendentalists’ numinously intuitive perception of nature alongside the critical figures of Thoreau, Whitman, Emmerson, and their predecessor, the Canadian Henry Wadsworth Longfellow. Poetry such as Henry Wadsworth Longfellow’s lines from his poem “The Tide Rises, The Tide Falls” are evident in Moses’ paintings, and they highlight a kinship, reveling in transcendental sensibilities grounded in the human experience of nature and its patterns throughout time.

 “The little waves, with their soft, white hands,
Efface the footprints in the sands.”

Geodesy 1514, Acrylic on canvas over circular wood panel, 72 in diameter, 2023 

Longfellow summarizes this generational contribution towards a deepening receptiveness and recognition of how these contemplations become influential legacies in his poem “A Psalm of Life.”

“Lives of great men all remind us.
We can make our lives sublime,
And, departing, leave behind us
Footprints in the sands of time.”

Geodesy 1515, Acrylic on canvas over circular wood panel, 72 in diameter, 2023

Similarly, Moses perceived an affinity and kinship from the East with Ryukyuan lacquerware for its craftsmanship and conceptual design motif through his introduction while viewing LACMA’s “The Five Directions: Lacquer from the Ryukyu Islands” exhibition. This iconography and the craft itself of creating a painstaking layering of resin polished into lacquer was characteristic of Japan’s Ryukyu Islands from the 18th century.  The motif speaks of benevolent mystical forms seeking wisdom in East Asian cultural iconography. One particular piece in LACMA’s exhibition, a circular tray, inspired his painting titled Geodesy 1515. The matter of the enlightenment is also poetically crafted as an adornment – Dragons Chasing the Flaming Pearl. The Flaming Pearl holds as its essence the themes of wisdom within a spiritual scope. At the same time, the dragons culturally appear as strong protective forms that control natural elements.

Circular Tray with Dragons Chasing a Flaming Pearl, Black Lacquer on Wood Core with Mother of Pearl Inlay, 3.5 x 35.25 in, Ryukyu Islands, 1700-1800, LACMA Permanent Collection.

The American transcendentalist ethos, presented in the poem “Come, said my soul” by Whitman, attests eloquently to their literary movements’ vision of universal unity.  Their writings draw deeply from their dedicated contemplation and communion with nature. This is akin to the sensibility the mystics have shared throughout time.

Geomorphology 1608, Acrylic on canvas over concave wood panel, 57 x 90 in, 2023

“Come, said my soul,
Such verses for my body let us write, (for we are one,)
That should I after death invisibly return,
Or, long, long hence, in other sphere,
There to some group of mates the chants resuming,
(Tallying earth’s soil, trees, winds, tumultuous waves,)
Ever with pleas’d smile I may keep on, Ever and ever yet the verses
owning – as, first, I here and now,
Singing for soul and body, set to them by name,
Walt Whitman

Andy Moses’s paintings attest to this universal transcendence, poetically defined, and breathtakingly revealing its cultural lineage’s kinship. WM

ANDY MOSES: RECENT PAINTINGS - Saturday September 9, 5-8PM

ANDY MOSES: RECENT PAINTINGS
September 9 - November 11, 2023
Opening Reception: Saturday, September 9, 5-8PM

Greg Miller - The Da Vinci Questionnaire - Nostalgic Nods to Ubiquitous Tropes

Greg miller at work in his Austin, Tx Studio

Extracting familiar pictorial codes from the pop culture of his youth, Greg Miller – who divides his time between New York, NY, Fredericksburg, TX and LA, CA, and whose work is featured in numerous museum and private collections, with a volume of his writings, photography and paintings having been published in 2010 – plumbs his own psychological depths only to discover what makes him love work and life.

To view the online exhibition catalog for the show please click HERE.

Once Upon A Time

Exhibition Catalog now available Online and in Print. Please contact the gallery for a copy of the print version.