Opening Reception: Thursday, October 18 from 6pm to 8pm
Gallery 102 is pleased to present Extra, an exhibition exploring the decorative in contemporary art. The show invites work by artists who address the notion of ‘too much.’ On a visual level, the work makes use of patterning, embellishment, design, and craft aesthetics. Thematically, the work challenges dominant cultural narratives.
Historically, the hierarchy between art and decoration has been strictly delineated. The tradition of humanism has defined art as an intellectual pursuit, increasingly reduced and defined through modernism. As part of this project, ornamentation is coded as unsophisticated, sentimental, and trite.
Utilizing glitter, rhinestones, crochet, and patterns, the artists reclaim the decorative, presenting an expansive reconsideration of taste. In doing so, several artists trove histories of decorative arts including African American quilt-making traditions and women’s crafts of weaving, crochet, and embroidery. Other artists turn art against itself by its own devices, using colors that are too brash or compositions that are too busy.
In working outside of proscriptive aesthetics, Extra takes the position that more is more. Through the decorative, we open ourselves to the rich visual experience of ornamentation and its corresponding lived experience of plurality.
The exhibition is curated by second-year MA Art History student, Maddy Henkin.
PROGRAMS & EVENTS
- Thursday October 18, 2018 // 6:00-8:00 pm: Join Gallery 102 for the opening reception of Extra. Light refreshments will be served. The reception is free and open to the public. To RSVP, click here.
- Friday November 16, 2018 // 6:00-8:00 pm: Join Gallery 102 and curator Maddy Henkin for the closing of Extra. Light refreshments will be served. The reception is free and open to the public. To RSVP, click here.
Sanford Biggers work is an interplay of narrative, perspective and history that speaks to current social, political and economic happenings while also examining the contexts that bore them. His diverse practice positions him as a collaborator with the past through explorations of often overlooked cultural and political narratives from American history. Working with antique quilts that echo rumors of their use as signposts on the Underground Railroad, he engages these legends and contributes to this narrative by drawing and painting directly onto them. In response to ongoing occurrences of police brutality against Black Americans, Biggers’ BAM series is composed of bronze sculptures recast from fragments of wooden African statues that have been anonymized through dipping in wax and then ballistically ‘resculpted’. Following a residency as a 2017 American Academy Fellow in Rome, the artist recently began working in marble. Drawing on and playing with the tradition of working in this medium, Biggers creates hybridized forms that transpose, combine and juxtapose classical and historical subjects to create alternative meanings and produce what he calls “future ethnographies”. He is also the creative director of Moon Medicin, a multimedia concept band that straddles visual art and music with performances staged against a backdrop of curated sound effects and video, that will perform at Open Spaces Kansas City in October 2018 and at the Kennedy Center in Washington DC in April 2019. Sanford Biggers (b. 1970) was raised in Los Angeles and currently lives and works in New York City. He was awarded the 2017 Rome Prize in Visual Arts. He has had solo exhibitions at the Contemporary Art Museum St. Louis, the Museum of Contemporary Art Detroit (2016), the Massachusetts Museum of Contemporary Art (2012) and the Brooklyn Museum (2011), among others. His work has been shown in several institutional group exhibitions including at the Menil Collection (2008) and the Tate Modern (2007), and also recent exhibitions at the Metropolitan Museum of Art (2017) and the Barnes Foundation (2017). Biggers’ work is held in the public collections of the Museum of Modern Art, New York; the Metropolitan Museum of Art, New York; the Whitney Museum of American Art, New York; the Museum of Contemporary Art, Chicago; the Walker Center, Minneapolis; the National Museum of African American History and Culture, Washington DC; the Dallas Museum of Art, Dallas; and the Legacy Museum, Montgomery, among others.
Caroline Wells Chandler (American, b. 1985) lives and works in Queens, NY. Stemming out of a 1970’s feminist craft history, Chandler’s brightly colored hand crocheted figures explore queerness and the art historical canon. He received his BFA from Southern Methodist University (Dallas, TX) in 2007 and his MFA from Yale University in 2011 where he received the Ralph Mayer Prize for proficiency in materials and techniques. From 2016-17 he was a recipient of the Sharpe Walentas Studio Program. He has had recent solo exhibitions at Andrew Rafacz (Chicago, IL), Lord Ludd (Philadelphia, PA), and Roberto Paradise (San Juan, PR). Recent group exhibitions include Geoffrey Young (Barrington, MA), Nathalie Karg (New York, NY), Marinaro Gallery, (New York, NY), Dio Horia (Mykonos, Greece), MRS. (Maspeth, NY), Kate Werble Gallery (New York, NY), 11R (New York, NY), The Hole (New York, NY), and Brand New Gallery (Milan, Italy). His work has been featured in The New York Times, Hyperallergic, The Huffington Post, TimeOut, Juxtapoze, Modern Painters, Maake Magazine, and AEQAI. Chandler is the proud papa bear of his painting and drawing students at Pratt Institute, Montclair State, and Norwalk Community College.
Moody Rose Christopher, born in Burlington, VT, is a self taught artist living in Vancouver as the co curator of the James Black Gallery. Rose is an interdisciplinary artist working in clay, collage, clothing, tattooing, installation and most often: painting. Her work explores spectrums of gender, the turbulence of mental illness, our role in society, and human absurdity. Rose believes in approachable artwork for those in the art world and beyond to create bridges that cross race, gender, and class.
Evie Falci (born 1985, Brooklyn, NY) is a 2007 graduate of the Maryland Institute College of Art, Baltimore, Maryland. She was selected as an artist in residence for the Marie Walsh Sharpe Space Program in 2011–2012. Her work has been included in numerous exhibitions at various venues, including: Asya Geisburg Gallery, New York, The Seligmann Center, Sugar Loaf, NYThe Kentucky Museum of Art and Crafts, Louiseville, KY, Danese Corey Gallery, New York, NY, The Hole Gallery, New York, Eric Firestone Gallery, East Hampton, Gallery Zurcher, New York, Jeff Bailey Gallery, Hudson, NY, Feature Inc., New York, and Gallery Diet, Miami. Recent solo shows include “Veils” at Castor Gallery, New York in 2016, “Voids and Invocations” at The Lodge Gallery, New York, in 2015 and “Everything All Night” at Jeff Bailey Gallery, New York in 2013. Her forthcoming solo show “Veils” will open at Castor Gallery, New York in June of 2016. Her work has been written about in publications that include White Wall Magazine (2015), Interview Magazine (2013), NY Arts Magazine (2013), and Into the Gloss (2013). Her work is part of the permanent collection of Art in Embassies, Jeddah, Saudi Arabia. She continues to live and work in Brooklyn, NY.
Faith Holland is an artist, curator, and educator whose multimedia practice focuses on gender, intimacy, and technology. Her work has been exhibited nationally and internationally at venues such as The Whitney Museum of American Art (New York), NRW Forum (Düsseldorf), Fotografisk Center (Copenhagen), Boulder Museum of Contemporary Art (Boulder), Boston Cyberarts Gallery (Boston), the Philips Collection (Washington, DC), Human Resources (Los Angeles), DAM Gallery (Berlin), and File Festival (São Paulo). Her work has been written about in Artforum, The Sunday Times UK, Elephant, Hyperallergic, Broadly, and ArtSlant among others. She was a 2014 NYFA Fellowship Finalist in Digital/Electronic Art. In 2016, she was an artist-in-residence at Jamaica Center for Arts and Learning and Harvestworks and a finalist for Fotomuseum Winterthur’s Post-Photography Prototyping Prize. Her second solo exhibition, Speculative Fetish, with Transfer Gallery in Brooklyn was in 2017-8.
Sam Keller is an artist born and raised in Brooklyn, NY. He holds a BFA in Painting from the Rhode Island School of Design. His work revolves around the politics of consumption, detritus and material transformations derived from the urban landscape. He has shown his work at Ed. Varie in New York and This Friday or Next Friday in Brooklyn. He is currently at the Cranbrook Academy of Art in their MFA program.
Lily Moebes is a Brooklyn-based artist originally from San Francisco and Austin, TX. Working primarily with textiles, her practice explores issues of the body. She earned her Bachelor’s Degree in Art History from Barnard College. In 2018, Moebes was an Artist in Residence at the Textile Arts Center in Brooklyn and is currently in residence at the Museum of Art and Design in New York.
Joan Snitzer‘s work is focused on painting as a method of visual communication and democratization of social and personal beliefs. She has exhibited her work at MoMA, MoMA PS1, the Bronx Museum of the Arts, David Nolan Gallery, Zürcher Gallery, and other venues in the US, Mexico, Puerto Rico, France, Scotland, Sweden, Germany, Poland, Slovakia, Hungary, Japan, and India, among others. In addition to her studio work, Snitzer has worked in a number of organizations that provide support for women and underrepresented visual artists. Snitzer is currently a faculty member and director of visual art at Barnard College.
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Gallery 102 is located at 801 22nd St. NW.