Gregory Euclide

Minneapolis, MN

"

I thought I would start with an artist I represent (and will have a solo show in the gallery up next month). Gregory Euclide has been a key component of our program for many years. He challenges the definition of painting and concepts associated with landscape as both an artistic genre and a conduit for our perception of the world around us. His work is unmistakable, and he regularly breathes new and refreshing ideas into his practice, producing diverse flat and relief works as well as stunning installations. Having received a great deal of popular exposure for contributing the artwork for Bon Iver’s Grammy award-winning album, in addition to widespread critical attention in recent years, this is a significant moment in his career.

"

Gregory Euclide

Minneapolis, MN

"

I thought I would start with an artist I represent (and will have a solo show in the gallery up next month). Gregory Euclide has been a key component of our program for many years. He challenges the definition of painting and concepts associated with landscape as both an artistic genre and a conduit for our perception of the world around us. His work is unmistakable, and he regularly breathes new and refreshing ideas into his practice, producing diverse flat and relief works as well as stunning installations. Having received a great deal of popular exposure for contributing the artwork for Bon Iver’s Grammy award-winning album, in addition to widespread critical attention in recent years, this is a significant moment in his career.

"

Tony Orrico

New York, NY

"

I first saw Tony Orrico's Penwald Drawings at the PULSE Contemporary Art Fair in 2011. His work was on display in the booth across from ours, and I often found myself staring at his complex drawings and reaching an almost meditative state. His use of his body both as a haptic tool and as a way of controlling the scale and eventual form of the work is fascinating. The drawings document a performance while simultaneously highlighting that mark-making, at its most basic, is a material record of movement.

"

Tony Orrico

New York, NY

"

I first saw Tony Orrico's Penwald Drawings at the PULSE Contemporary Art Fair in 2011. His work was on display in the booth across from ours, and I often found myself staring at his complex drawings and reaching an almost meditative state. His use of his body both as a haptic tool and as a way of controlling the scale and eventual form of the work is fascinating. The drawings document a performance while simultaneously highlighting that mark-making, at its most basic, is a material record of movement.

"

Amy Bennett

Brooklyn, NY

"

Amy Bennett's paintings are captivating. She balances the often haunting narratives present in her work with a sensitive, painterly beauty that is so engaging. As a part of her process, Bennett creates three-dimensional models, which she uses as source material for the visual tableaus in her paintings, and the visual result is somewhat detached yet strangely familiar.

"

Amy Bennett

Brooklyn, NY

"

Amy Bennett's paintings are captivating. She balances the often haunting narratives present in her work with a sensitive, painterly beauty that is so engaging. As a part of her process, Bennett creates three-dimensional models, which she uses as source material for the visual tableaus in her paintings, and the visual result is somewhat detached yet strangely familiar.

"

Henrique Oliveira

Sao Paulo, Brazil

"

Henrique Oliveira creates massive installations constructed with wood fencing salvaged from the streets of Sao Paulo. Through these largescale works Oliveira creates the illusion of biomorphic forms bursting through walls and ceilings, broaching the confines of the spaces that they are installed in. His 2011 exhibition at the Boulder Museum of Contemporary Art here in Colorado was a real visual treat—Oliveira used his overlapping boards to convey thick gestural brushstrokes, which overcame the classic white walls of the space.

"

Henrique Oliveira

Sao Paulo, Brazil

"

Henrique Oliveira creates massive installations constructed with wood fencing salvaged from the streets of Sao Paulo. Through these largescale works Oliveira creates the illusion of biomorphic forms bursting through walls and ceilings, broaching the confines of the spaces that they are installed in. His 2011 exhibition at the Boulder Museum of Contemporary Art here in Colorado was a real visual treat—Oliveira used his overlapping boards to convey thick gestural brushstrokes, which overcame the classic white walls of the space.

"

Titus Kaphar

New York, NY

"

Titus Kaphar uses oil paint to masterfully render copies of 18th and 19th century portraits, which he then cleverly manipulates as a form of fascinating art historical and cultural commentary. Through these blended layers of history and visual culture the works initiate a quite heavy historical dialogue steeped in issues of race and society—though with touches of the absurd at times. The canvases, transformed by Kaphar into sculptures, engage viewers on so many levels, and the end result is very powerful.

"

Titus Kaphar

New York, NY

"

Titus Kaphar uses oil paint to masterfully render copies of 18th and 19th century portraits, which he then cleverly manipulates as a form of fascinating art historical and cultural commentary. Through these blended layers of history and visual culture the works initiate a quite heavy historical dialogue steeped in issues of race and society—though with touches of the absurd at times. The canvases, transformed by Kaphar into sculptures, engage viewers on so many levels, and the end result is very powerful.

"

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Guest curator: David B. Smith Owner, David B. Smith Gallery

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David's selections

Gregory Euclide

Minneapolis, MN

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Gregory Euclide

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Tony Orrico

New York, NY

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Tony Orrico

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Amy Bennett

Brooklyn, NY

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Amy Bennett

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Henrique Oliveira

Sao Paulo, Brazil

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Henrique Oliveira

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Titus Kaphar

New York, NY

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Titus Kaphar

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Guest curator: David B. Smith
Owner, David B. Smith Gallery