https://philipmartingallery.cargo.site philipmartingallery.com Wed, 13 Feb 2019 14:28:38 +0000 https://philipmartingallery.cargo.site en https://philipmartingallery.cargo.site/Homepage Mon, 26 Feb 2018 06:22:01 +0000 philipmartingallery.com https://philipmartingallery.cargo.site/Homepage <img width="1341" height="994" width_o="1341" height_o="994" data-src="https://freight.cargo.site/t/original/i/9dd7c6794a76207a26c6b199f8efbe3e8017be671f4c90510fa0b0b1ca3d30c5/PM-2018-03-30_003_Cropped.jpg" data-mid="15327603" border="0" src="https://freight.cargo.site/w/1000/i/9dd7c6794a76207a26c6b199f8efbe3e8017be671f4c90510fa0b0b1ca3d30c5/PM-2018-03-30_003_Cropped.jpg" /> Katy Cowan | Pamela Jorden:&nbsp;The Day in the Night March 2 - April 20, 2019 UpcomingHolly Coulis May 4 - July 6, 2019 Art BaselCarl ChengJune 13 - 16, 2019 This Synthetic Moment (Replicant) curated by David HarttJuly 13 - August 24, 2019 https://philipmartingallery.cargo.site/Artists Sun, 25 Feb 2018 06:27:34 +0000 philipmartingallery.com https://philipmartingallery.cargo.site/Artists Ericka BeckmanKwame BrathwaiteBrian BressCarl ChengHolly CoulisKaty CowanTomory DodgeNathan MabryT. Kelly MasonPat O’NeillRobert OverbyBernard PiffarettiMichael ReyAdam SilvermanSupports/SurfacesLew Thomas https://philipmartingallery.cargo.site/Exhibitions Thu, 15 Feb 2018 06:13:09 +0000 philipmartingallery.com https://philipmartingallery.cargo.site/Exhibitions CurrentKaty Cowan | Pamela Jorden: The Day in the NightMarch 2 - April 20, 2019 Upcoming Holly Coulis&nbsp; May 4 - July 6, 2019 Art Basel Carl Cheng June 13 - 16, 2019 This Synthetic Moment (Replicant) curated by David Hartt July 13 - August 24, 2019 Past The Armory ShowKaty CowanMarch 7 - 10, 2019 Ericka BeckmanJanuary 19 - February 23, 2019 Art Los Angeles ContemporaryTomory Dodge | Adam SilvermanFebruary 13-17, 2019 Kwame Brathwaite: Celebrity and the EverydayNovember 3, 2018 - January 12, 2019 Art Basel Miami BeachKwame Brathwaite, Brian Bress, Katy Cowan, Tomory Dodge, Nathan MabryDecember 6 - 9, 2018 &nbsp; Pat O’NeillThe Decay of FictionSeptember 8 - October 27, 2018 Expo Chicago: Brian Bress | Tomory DodgeSeptember 27-30, 2018 Nathan Mabry and Bernard PiffarettiA Guest + A Host = A GhostJuly 14 - August 25, 2018 TexasJune 1 - June 30, 2018Terry Allen, Adriana Corral, Trenton Doyle Hancock, Melvin Edwards, Mark Flood, Dana Frankfort, Todd Hebert, Teresa Hubbard/Alexander Birchler, Paul Kremer, Stephen Lapthisophon, Emily Mae Smith, Donald Moffett, Deborah Roberts, Dario Robleto, Peter Saul, Sally Saul, Vincent Valdez Do Something To It. Do Something Else To It.April 28 - May 26, 2018Ericka Beckman, Kwame Brathwaite, Brian Bress, Carl Cheng, Holly Coulis, Katy Cowan, Tomory Dodge, Noël Dolla, Nathan Mabry, T. Kelly Mason, Pat O’Neill, Robert Overby, Bernard Piffaretti, Michael Rey, Adam Silverman, Lew Thomas and Claude Viallat The Armory Show —&nbsp;March 8 - 11, 2018 Kwame Brathwaite, Brian Bress, Katy Cowan, Tomory Dodge, Nathan Mabry, Pat O’Neill and Adam Silverman Adam Silverman: Ghosts — November 11, 2017 - January 27, 2018 Tomory Dodge — November 11, 2017 - January 27, 2018 Art Basel Miami Beach — December 7-10, 2017 Kwame Brathwaite, Brian Bress, Holly Coulis, Katy Cowan, Tomory Dodge and Adam Silverman Ad Minoliti: G.S.F.C. 2.0 (geometrical sci-fi cyborg) — September 12 - November 4, 2017 Brian Bress and Nathan Mabry: Totems — September 12 - November 4, 2017 Perfectly Concocted Context by Jonathan Monk — June 24 - August 19, 2017 Bas Jan Ader, John Baldessari, Nina Beier, Matt Connors, Ceal Floyer, Ryan Gander, Piero&nbsp;Golia, Isabell Heimerdinger, Robert Heinecken, Jenny Holzer, Louise Lawler, Sol LeWitt, Robert Overby, Michael Rey, Ed Ruscha, David Shrigley, Ettore Sottsass, Lew Thomas and Christopher&nbsp;Williams. Katy Cowan: On Ropes and Bronze... — June 24 - August 19, 2017 Brian Bress: In Lieu of Flowers Send Memes — April 29 - June 17, 2017 Ericka Beckman: Switch Center — March 11 - May 13, 2017 Holly Coulis: Days and Nights, Lemons — March 11 - April 22, 2017 Dallas Art Fair — April 6-9, 2017 Bernard Piffaretti Supports / Surfaces — January 24 - March 4, 2017 Steve DiBenedetto: Novelty Mapping Picnic — January 24 - March 4, 2017 Art Los Angeles Contemporary — January 26-29, 2017 Brian Bress, Katy Cowan, T. Kelly Mason, Bernard Piffaretti, Adam Silverman Top Heavy: Jennifer Boysen, Katy Cowan, Michael Rey — November 5, 2016 - January 14, 2017 T. Kelly Mason: Charrette; A Collaboration With A Few Of My Previous Selves — November 5, 2016 - January 11, 2017 Art Basel Miami Beach: Carl Cheng, Robert Heinecken and Pat O'Neill: Works 1964-1984 — December 1-4, 2016 Photography and Language: Lew Thomas, Donna-Lee Phillips, Peter d’Agostino, Hal Fischer — August 6 - October 29, 2016 FIAC — October 20-23, 2016 Ericka Beckman Black is Beautiful: Empowerment Through the Lens of Kwame Brathwaite, 1962 - 1975 — May 21 - July 30, 2016 Carl Cheng: Nature is Everything - Everything is Nature — May 21 - July 30, 2016 Art Basel — June 16-19, 2016 Pat O'Neill Nathan Mabry: gripgrabstacksqueeze — April 2 - May 14, 2016 Adam Silverman: Body Language — March 19 - May 14, 2016 Ericka Beckman: Cinderella — January 9 - March 12, 2016 Brian Bress — January 16 - March 12, 2016 The Armory Show — March 3-6, 2016 Brian Bress, Katy Cowan, Nathan Mabry, Bernard Piffaretti, Michael Rey Art Los Angeles Contemporary — January 28-31, 2016 Brian Bress and Michael Rey Katy Cowan: The Studio, The Sketch — November 5 - December 19, 2015 Lui Shtini: Morphē — November 5 - December 19, 2015 Art Basel Miami Beach— December 3-6, 2015 Nathan Mabry and Bernard Piffaretti FIAC— October 22-25, 2015 Expanded Photographic/Material Practice at the University of California, Los Angeles (UCLA) 1963-1973 Robert Overby: See Robert — August 8 - October 24, 2015 Try again. Fail again. Fail better. — August 22 - October 10, 2015 Katy Cowan, Takuro Kuwata, William J. O’Brien, Adam Silverman New York Art Book Fair — September 18-20, 2015 Hal Fischer, Gay Semiotics: a photographic study of visual coding among homosexual men Matt Paweski and Andrea Sala — July 18 - August 15, 2015 T. Kelly Mason — June 20 - August 1, 2015 Jennifer Boysen — June 13 - July 11, 2015 Matt Connors: BOTTOMS — May 9 - June 13, 2015 Holly Coulis — May 9 - June 6, 2015 Bernard Piffaretti: Moving Pictures — April 2 - May 3, 2015 Paris Photo LA - May 1-3, 2015 Lew Thomas: (S) IMAGE THAN RATHER (S) IDEA BE CAN PHOTOGRAPHY FOR BASE A &lt;—— — Kriwet — April 2 - May 3, 2015 Pat O'Neill — February 28 - March 28, 2015 Katy Cowan: Compressional(s) — February 28 - March 28, 2015 The Armory Show — March 5-8, 2015 Jennifer Boysen, Brian Bress, Nathan Mabry, Bernard Piffaretti, and Michael Rey Michael Rey: OMES — January 10 - February 21, 2015 Hal Fischer: Gay Semiotics — January 10 - February 21, 2015 Brian Bress: You Can't Sleep on a Door — November 8, 2014 - January 3, 2015 Matt Connors, Bernard Piffaretti, and Michael Rey — November 8, 2014 - January 3, 2015 Art Basel Miami Beach — December 4-7, 2014 Brian Bress FIAC — October 23-26, 2014 Pat O'Neill Jennifer Boysen: Trans-mutes — September 20 - October 25, 2014 Sebastian Black and Koenraad Dedobbeleer — September 20 - October 25, 2014 Augment This (Meditations on the Image)&nbsp;— July 12 - September 13, 2014 Jennifer Boysen, Gintaras Didziapetris, Gary Hill, Tobias Kaspar, Susanne Kriemann, Pat O’Neill, Anna Ostoya and Mandla&nbsp;Reuter. Michael Rey — July 12 - August 23, 2014 Katy Cowan and Ross Iannatti — May 31 - July 3, 2014 Nathan Mabry: GOODGOD — May 3 - June 28, 2014 Art Basel— June 19-22, 2014 T. Kelly Mason Ericka Beckman: Boundary Figures — April 19 - May 24, 2014 Paris Photo L.A — April 24-27, 2014 Brian Bress Lew Thomas: Structural(ism) and Photography — March 22 - April 26, 2014 Supports/Surfaces is Alive and Well — January 18 - March 15, 2014 Matt Connors: Complaints III — January 18 - March 15, 2014 Alan Shields — November 23, 2013 - January 11, 2014 T. Kelly Mason: Variable — November 23 - December 21, 2013 Art Basel Miami Beach — December 5-8, 2013 Matt Connors and Bernard Piffaretti Robert Heinecken: Sensing the Technologic Banzai — September 28 - November 16, 2013 Pat O'Neill: Horizontal Boundaries — September 28 - November 16, 2013 FIAC — October 24-27, 2013 Mari Eastman, Robert Heinecken, and Robert Overby Brian Bress, Matt Connors, Mari Eastman, Nathan Mabry, T. Kelly Mason — July 20 - September 14, 2013 Florian Morlat: Sticks and Stones, Pt. 1 &amp; Pt. 2: Pt. 1 opens May 4 - June 1, 2013; Pt. 2 opens June 6 - July 3, 2013 — May 4 - July 3, 2013 Art Basel — June 13-16, 2013 Robert Heinecken: Surrealism on TV Art Basel | Art Unlimited — June 13-16, 2013 Matt Connors: Demonstration (red and blue) Paris Photo LA — April 25-28, 2013 Brian Bress, Robert Heinecken, Amanda Ross-Ho T. Kelly Mason: Atmospheric (Without revolutionary theory there can be no revolutionary action) — March 2 - April 27, 2013 Art Brussels — April 18-21, 2013 Matt Connors, Robert Heinecken, Robert Overby, Amanda Ross-Ho Bernard Piffaretti: Report — January 12 - February 16, 2013 Robert Overby / Erik Frydenborg / John Henderson / Noam Rappaport — November 10, 2012 - January 5, 2013 Art Basel Miami Beach — December 6-9, 2012 Erik Frydenborg and T. Kelly Mason Paris Photo: The Evolving Photographic Object in the US and Canada 1964-1970 — November 15-18, 2012 Matt Connors: Sandpaper Sleeve — September 15 - October 27, 2012 FIAC — October 18-21, 2012 Robert Overby EXPO Chicago — September 19-23, 2012 Brian Bress Bush of Ghosts: Nathan Mabry, Djordje Ozbolt and Francis Upritchard — July 14 - August 25, 2012 Look here, upon this picture: Alice Channer, Mari Eastman, Marc Hundley, Amanda Ross-Ho — May 12 - June 30, 2012 Art Basel 43 — June 11-17, 2012 Erik Frydenborg: Sequestered Demos Holly Coulis — March 3 - April 28, 2012 Art Brussels — April 19-22, 2012Matt Connors, Robert Heinecken, Robert Overby, Amanda Ross-Ho Art Cologne — April 18-22, 2012 Robert Heinecken, Florian Morlat, Amanda Ross-Ho The Armory Show — March 8-11, 2012 Brian Bress, Jack Dale, Erik Frydenborg, Robert Heinecken, Nathan Mabry, Amanda Ross-Ho Brian Bress: Under Performing — January 7 - February 25, 2012 ARCO, Madrid — February 15-19, 2012 Mari Eastman Art LA Contemporary — January 19-22, 2012 Nathan Mabry Erik Frydenborg: Dr. (illegible) — November 5 - December 17, 2011 FIAC— October 20-23, 2011 Robert Heinecken Photography into Sculpture/The Evolving Photographic Object — September 10 - October 22, 2011 Matt Connors, Robert Cumming and Florian Morlat — July 9 - August 6, 2011 The Lifestyle Press: Roe Ethridge, Hannah Whitaker, Sam Lewitt, Noah Sheldon and Nicolás Guagnini, organized by Gil Blank — May 14 - June 25, 2011 ROMA Contemporary — May 6-8, 2011 Two-person presentation of new work by Erik Frydenborg and Amanda Ross-Ho Mari Eastman: Objects, Decorative and Functional — April 2 - May 7, 2011 Art Brussels Contemporary Art Fair — April 28 - May 1, 2011 Matt Connors, Erik Frydenborg, Robert Heinecken, Nathan Mabry, Florian Morlat and Amanda Ross-Ho Robert Heinecken: Object Matter — February 19 - March 26, 2011 Nathan Mabry: Armature — January 8 - February 12, 2011 Amanda Ross-Ho: A STACK OF BLACK PANTS — November 6 - December 22, 2010 Art Basel Miami Beach — December 2-5, 2010 Brian Bress Seven Card Stud — September 18 - October 23, 2010 Freedom / Information / Act — July 22 - August 14, 2010 They Have Not the Art to Argue with Pictures: Robert Heinecken, Erik Frydenborg, Nicolás Guagnini, Wade Guyton, Leigh Ledare, Amanda Ross-Ho, Collier Schorr — May 22 - July 17, 2010 Erik Frydenborg: 'DISTANTS' by THE DISTANTS — April 9 - May 15, 2010 Matt Connors: Dromedary Resting — February 27 - April 3, 2010 ARCO Madrid — February 17-21, 2010 New work by Matt Connors, Mari Eastman and Erik Frydenborg Daniel Dove — January 16 - February 20, 2010 Noah Sheldon — November 7 - December 12, 2009 Art Basel Miami Beach — December 3-6, 2009 Two person presentation by Amanda Ross-Ho and Noah Sheldon Brian Bress: The Royal Box — September 12 - October 24, 2009 Bellows and Whispers: Claude Collins-Stracensky, Mari Eastman, Erik Frydenborg, Noah Sheldon &amp; Torbjorn Vejvi — July 11 - August 15, 2009 Antonio Adriano Puleo: I Am a Bird Now — May 23 - June 27, 2009 FIRST SHOW — April 18 - May 16, 2009 The Armory Show — March 4-8, 2009 New work by Brian Bress, Nathan Mabry and Amanda Ross-Ho Art LA / Los Angeles — January 25-28, 2009 New work by Holly Coulis and Amanda Ross-Ho Holly Coulis: Men — November 8 - December 20, 2008 Art Basel Miami Beach — December 4-7, 2008 Nathan Mabry Amanda Ross-Ho: HALF OF WHAT I SAY IS MEANINGLESS — September 20 - November 1, 2008 Matt Connors, Marc Hundley, Michael Stickrod — July 12 - August 16, 2008 Noah Sheldon — May 31 - July 5, 2008 Daniel Dove — April 19 - May 24, 2008 Nathan Mabry — March 1 - April 5, 2008 The Armory Show — March 27-30, 2008 New works by Elad Lassry and Amanda Ross-Ho Ruby Osorio: Looking Through The Blind — January 12 - February 16, 2008 Yuh-Shioh Wong: The Marsupial Project — January 12 - February 16, 2008 Art LA — January 25-28, 2008 New work by Whitney Bedford, Daniel Dove, Elad Lassry, Amanda Ross-Ho and Sara VanDerBeek Elad Lassry: She Takes These Pictures of His Wife Silhouetted on a Hillside — November 3 - December 15, 2007 NADA Art Fair — December 5-9, 2007 New work by Amanda Ross-Ho Artissima Art Fair— November 9-11, 2007 New work by Elad Lassry Whitney Bedford — September 12 - October 27, 2007 Zoo Art Fair — October 11-14, 2007 New work by Nathan Mabry and Elad Lassry Art Forum Berlin — September 29 - October 3, 2007New work by Daniel Dove, Nathan Mabry and Amanda Ross-Ho Radiant City — June 30 - August 11, 2007 Michael Bauer, Walead Beshty, Luke Dowd, Anton Henning, Rebecca Morris, Mai-Thu Perret, Anthony Pearson, Sara Vanderbeek,Tyler Vlahovich Max Maslansky — May 24 - June 23, 2007 VOLTA03 — June 11-16, 2007 New work by Elad Lassry, Nathan Mabry and Amanda Ross-Ho Daniel Dove / Tom McGrath — April 7 - May 12, 2007 Amanda Ross-Ho: Nothin Fuckin Matters — February 17 - March 24, 2007 LA Art in New York — February 23-25, 2007 New work by Holly Coulis, Nathan Mabry, Kim McCarty and Amanda Ross-Ho Antonio Adriano Puleo: Birds and Beasts — January 6 - February 10, 2007 Art LA / Los Angeles — January 25-28, 2007 Marcelino Gonçalves — November 4 - December 16, 2006 NADA Art Fair — December 6-10, 2006New work by Nathan Mabry Artissima Art Fair— November 10-12, 2006 Ruby Osorio: Extreme Unction — September 16 - October 28, 2006 Zoo Art Fair — October 12-15, 2006 New work by Holly Coulis, Nathan Mabry, Ruby Osorio, Amanda Ross-Ho and Augusta Wood Augusta Wood: leaning on the margin — June 24 - July 30, 2006 El Dorado Holly Coulis, Alison Fox, Angelina Gualdoni, Portia Hein — May 13 - June 17, 2006 Amanda Ross-Ho: Don't Front (You Know I Got Cha Open) — May 13 - June 17, 2006 Kim McCarty — April 1 - May 6, 2006 MACO Art Fair&nbsp;— April 26-30, 2006 New work by Nathan Mabry, Ruby Osorio Amanda Ross-Ho and Augusta Wood. Nathan Mabry — February 18 - March 25, 2006 LA Art — March 10-12, 2006New work by Holly Coulis, Nathan Mabry, Max Maslansky, Kim McCarty, Ruby Osorio and Augusta Wood. Holly Coulis — January 7 - February 11, 2006 Max Maslansky — January 7 - February 11, 2006 Nathan Mabry — November 4 - December 11, 2005 Jeremy Shaw: DMT — November 4 - December 11, 2005 Paper Beats Rock: William Basinski and James Elaine, Libby Black, Elliott Hundley, Ansel Krut, David X. Levine, Charlotte McGowan-Griffin — July 9 - August 14, 2005 https://philipmartingallery.cargo.site/Exhibition-1903-KC-The-Armory Tue, 23 Oct 2018 22:02:46 +0000 philipmartingallery.com https://philipmartingallery.cargo.site/Exhibition-1903-KC-The-Armory ︎ The Armory Show March 7 - 10, 2019Booth F23, Pier 90 Katy Cowan Images / Press Release <img width="3371" height="2248" width_o="3371" height_o="2248" data-src="https://freight.cargo.site/t/original/i/91754661d23619220d160344fb1b52a3e30dcc1f416f5f322a925c7bfbe71bb4/IMG_8818.jpg" data-mid="37117045" border="0" src="https://freight.cargo.site/w/1000/i/91754661d23619220d160344fb1b52a3e30dcc1f416f5f322a925c7bfbe71bb4/IMG_8818.jpg" /><img width="3371" height="2246" width_o="3371" height_o="2246" data-src="https://freight.cargo.site/t/original/i/70dabf46c9f3321c87d8dbca8e5f1c506497fb87c65e99597430afe42940993a/IMG_8822.jpg" data-mid="37117046" border="0" src="https://freight.cargo.site/w/1000/i/70dabf46c9f3321c87d8dbca8e5f1c506497fb87c65e99597430afe42940993a/IMG_8822.jpg" /><img width="2247" height="3015" width_o="2247" height_o="3015" data-src="https://freight.cargo.site/t/original/i/d651dd3df98c9bd01bec2f45a7203a3f650027cbb97c99b657f7d6f92be60b0a/IMG_8827.jpg" data-mid="37117047" border="0" src="https://freight.cargo.site/w/1000/i/d651dd3df98c9bd01bec2f45a7203a3f650027cbb97c99b657f7d6f92be60b0a/IMG_8827.jpg" /><img width="3370" height="2246" width_o="3370" height_o="2246" data-src="https://freight.cargo.site/t/original/i/0e4b4ef792188bb6563b7ecf01af85ba6abfa9bcb6e68ef4fed48ed0837bb35f/IMG_8831.jpg" data-mid="37117048" border="0" src="https://freight.cargo.site/w/1000/i/0e4b4ef792188bb6563b7ecf01af85ba6abfa9bcb6e68ef4fed48ed0837bb35f/IMG_8831.jpg" /><img width="3370" height="2246" width_o="3370" height_o="2246" data-src="https://freight.cargo.site/t/original/i/28c96155f40a9437b310a00793b35fe8c9e66b6920b6d826733005b3256dec90/IMG_8836.jpg" data-mid="37117049" border="0" src="https://freight.cargo.site/w/1000/i/28c96155f40a9437b310a00793b35fe8c9e66b6920b6d826733005b3256dec90/IMG_8836.jpg" /><img width="3371" height="2247" width_o="3371" height_o="2247" data-src="https://freight.cargo.site/t/original/i/da59aab6ea650d2fdf56a7328d326258b4f16209f2ce475f84a1a42c71774d6e/IMG_8841.jpg" data-mid="37117050" border="0" src="https://freight.cargo.site/w/1000/i/da59aab6ea650d2fdf56a7328d326258b4f16209f2ce475f84a1a42c71774d6e/IMG_8841.jpg" /><img width="792" height="594" width_o="792" height_o="594" data-src="https://freight.cargo.site/t/original/i/5d4517bb261e18bd2479a20de1bc4262edee96bc98f3ddc4a35b66f31661a2a7/KC_2018_aslisteningPosition_JJ_WEB.jpg" data-mid="35336972" border="0" src="https://freight.cargo.site/w/792/i/5d4517bb261e18bd2479a20de1bc4262edee96bc98f3ddc4a35b66f31661a2a7/KC_2018_aslisteningPosition_JJ_WEB.jpg" /> Press ReleaseAt the 2019 Armory Show, Philip Martin Gallery presents a solo exhibition of new hand cast and painted aluminum works by Katy Cowan. Katy Cowan's body, her studio and the events in her immediate environment serve as generative subject-matter for her artworks. Colorful and richly textured, Katy Cowan's artworks investigate human&nbsp;experience. Cowan suggests that ideas and objects are both physical and metaphorical. Impressions can be not only literal – like an aluminum cast –&nbsp;but also expressive and elusive. Cowan's work utilizes alteration, repetition, and a conceptual emphasis on material choice. The Armory Show is located: Piers 90 &amp; 92 &amp; 94711 12th AvenueNew York City, NY 10019 Philip Martin Gallery booth is located in the Focus section,&nbsp; Booth F23, Pier 90, curated by Lauren Haynes, Curator of Contemporary Art, Contemporary Art at Crystal Bridges Museum of American Art, Bentonville, AR. Public DaysThursday, March 7, 12–8pm Friday, March 8, 12–8pm Saturday, March 9, 12–7pm Sunday, March 10, 12–6pm&nbsp; ARTIST BIOGRAPHY Katy Cowan (b. 1982, Lake Geneva, WI) received her BFA from University of Puget Sound in 2004 and her MFA from Otis College of Art and Design in 2014. Her work is currently the subject of "Katy Cowan | Pamela Jorden: The Day in the Night" at Philip Martin Gallery in Los Angeles (through April 20). Cowan had a recent solo exhibition, “Reflected-Into- Themselves-Into-Reflected," at the Lynden Sculpture Garden (Milwaukee, WI). She has been featured in solo and group exhibitions at University of Puget Sound (Tacoma, WA); Madison Museum of Contemporary Art (Madison, WI); Synchrotron Radiation Center: Home of Aladdin, (Stoughton, WI); Poor Farm (Manawa, WI); Philip Martin Gallery (Los Angeles, CA); Green Gallery (Milwaukee, WI); Kate Werble Gallery (New York, NY); Fourteen30 Contemporary (Portland, OR). Cowan's work is in such public and private collections as the Minneapolis Museum of Art (Minneapolis, MN); Lynden Sculpture Garden (Milwaukee, WI); Art in Embassies (Maputo, Mozambique) and Northwestern Mutual Insurance. Her work has been reviewed in Artforum, Los Angeles Times, Architectural Digest, Wallpaper*, Contemporary Art Review.LA, Artnet and other publications. She lives and works in Berkeley, CA. Philip Martin Gallery hours are Tuesday through Saturday from 11am-6pm and by appointment. For further information and images please contact the gallery at +310-559-0100 or info@philipmartingallery.com.Philip Martin Gallery2712 S. La Cienega Blvd.Los Angeles, CA 90034+310-559-0100info@philipmartingallery.com https://philipmartingallery.cargo.site/Exhibition-1909-NM-The-Sorcerer-s-Burden Fri, 16 Nov 2018 23:18:41 +0000 philipmartingallery.com https://philipmartingallery.cargo.site/Exhibition-1909-NM-The-Sorcerer-s-Burden ︎ The Sorcerer's Burden September 14, 2019 – January 19, 2020 Nathan Mabry, Ed Atkins, Frances Bodomo, Theo Eshetu, Cameron Jamie, Kapwani Kiwanga, Marie Lorenz, Ruben Ochoa, Dario Robleto, Shimabuku, Julia Wachtel Images / Press Release <img width="640" height="531" width_o="640" height_o="531" data-src="https://freight.cargo.site/t/original/i/1c4b3c2c0536e4920918f1cb4598f5272d89e2bb287bc3b1c03c8d41456b47ab/NM_untitled_ArmsBySides_Red_OtherWEB.jpeg" data-mid="28690460" border="0" src="https://freight.cargo.site/w/640/i/1c4b3c2c0536e4920918f1cb4598f5272d89e2bb287bc3b1c03c8d41456b47ab/NM_untitled_ArmsBySides_Red_OtherWEB.jpeg" /><img width="831" height="1280" width_o="831" height_o="1280" data-src="https://freight.cargo.site/t/original/i/4d80688359342624da6f73ffc19fb189cf92c35cb26061f12bf3cbeebcbbe1c1/NM_untitled_Crouching_Green3_OtherWEB.jpg" data-mid="28690461" border="0" src="https://freight.cargo.site/w/831/i/4d80688359342624da6f73ffc19fb189cf92c35cb26061f12bf3cbeebcbbe1c1/NM_untitled_Crouching_Green3_OtherWEB.jpg" /><img width="1280" height="954" width_o="1280" height_o="954" data-src="https://freight.cargo.site/t/original/i/e067b33bb471ce0b7f635ff37d6b688b8b0a5d2d5821385c3bc17fbb0153fac1/NM_untitled_RightArmBent_Green_OtherWEB.jpg" data-mid="28690462" border="0" src="https://freight.cargo.site/w/1000/i/e067b33bb471ce0b7f635ff37d6b688b8b0a5d2d5821385c3bc17fbb0153fac1/NM_untitled_RightArmBent_Green_OtherWEB.jpg" /><img width="845" height="1280" width_o="845" height_o="1280" data-src="https://freight.cargo.site/t/original/i/9f25e0dc6f778d686bc0c8b498d89d262f68dd1854d8d887d5b902f9a69f59fd/NM_untitled_Crouching_Blue2_OtherWEB.jpeg" data-mid="28690474" border="0" src="https://freight.cargo.site/w/845/i/9f25e0dc6f778d686bc0c8b498d89d262f68dd1854d8d887d5b902f9a69f59fd/NM_untitled_Crouching_Blue2_OtherWEB.jpeg" /> Press ReleaseThe intersection of art and anthropology can be traced to the long-standing human desire to collect, classify, and display across cultures and time. In Western societies, the systematic accumulation and exhibition of objects considered to be culturally valuable dates back to the Renaissance-era cabinet of curiosities, or Wunderkammer, the precursor by several centuries to the modern art museum. Meant to inspire and amaze, these cabinets began in private, domestic spaces but over time expanded to entire rooms in the public sphere, eventually becoming what we know today as natural history, anthropology, and ethnographic museums. It wasn’t until the late seventeenth century that the first art museums appeared, taking their cue from these private curio collections turned public, where art collections of the royal, wealthy, and ruling elite made their way into public spaces for exhibition. In many ways, art museums evolved in opposition to natural history museums, the relationship between the two echoing undercurrents of the longstanding discussion between “high” and “low” art. In tandem, anthropological endeavors aspired to remain a comfortable distance from notions of fine art, averse to ethnographic methods becoming aestheticized and the inherent colonialist impulses present in both fields. At the same time, anthropology and art as fields of study—themselves widely divergent across geographies and cultures—tend to have more in common than not: among them, an intellectual foundation based on curiosity about culture, an impulse to collect, and a reflection of the human condition. More recently, the twentieth century has witnessed Western modern and contemporary art re-engaging with anthropology. From the exoticism of early twentieth-century Primitivism, to the appropriated rituals of Surrealism, to Land Art’s archaeological excavation, and later to the ethnographic turn in exhibition-making beginning in the 1980s; the two fields continue to make uneasy yet fertile bedfellows. The resurgence of artists and curators turning to anthropological methodologies and concerns is both fascinating and problematic, indicative of broader sociopolitical undercurrents. It is this intersection, the complicated relationship between art and anthropology as seen through the lens of contemporary artists, that forms the subject of the forthcoming exhibition The Sorcerer’s Burden, titled after an ethnographic book of the same name by the American cultural anthropologist Paul Stoller. Representing a wide range of media, and including new commissions, site-specific works, and loans, the content will not focus on artists presenting straightforward ethnographic observations, but rather those artists who appropriate, manipulate, and transform elements found in anthropological methodologies and practices to create contemporary works that are alternately subversive, humorous, satirical, dark, playful, and enchanting. The premise teases out challenging issues related to race, colonialism, identity, religion, and politics, as well as potential for insight and fresh perspective in the unexpected intersections. The Sorcerer’s Burden will consist of eleven artists, including: Ed Atkins&nbsp;(b. 1982 in Oxford, England; lives and works in London),&nbsp;Frances Bodomo&nbsp;(b. 1988 in Accra, Ghana; lives and works in Queens, New York),&nbsp;Theo Eshetu&nbsp;(b. 1958 in London, United Kingdom; lives and works in Berlin, Germany),&nbsp;Cameron Jamie&nbsp;(b. 1969 in Los Angeles, California; lives and works in Paris, France),&nbsp;Kapwani Kiwanga&nbsp;(b. 1978 in Hamilton, Ontario, Canada; lives and works in Paris, France),&nbsp;Marie Lorenz&nbsp;(b. 1973 in Twentynine Palms, California; lives and works in Brooklyn, New York, and Austin, Texas),&nbsp;Nathan Mabry&nbsp;(b. 1978 in Durango, Colorado; lives and works in Los Angeles, California),&nbsp;Ruben Ochoa&nbsp;(b. 1974 in Oceanside, California; lives and works in Los Angeles, California),&nbsp;Dario Robleto&nbsp;(b. 1972 in San Antonio, Texas; lives and works in Houston, Texas),&nbsp;Shimabuku&nbsp;(b. 1969 in Kobe, Japan; lives and works in Naha, Japan), and&nbsp;Julia Wachtel&nbsp;(b. 1956 in New York, New York; lives and works in Brooklyn, New York). Organized by Heather Pesanti, Chief Curator and Director of Curatorial Affairs, The Contemporary Austin. Text is also by Pesanti. This exhibition is funded in part by a grant from the Andy Warhol Foundation for the Visual Arts.&nbsp;Philip Martin Gallery hours are Tuesday through Saturday from 11am-6pm and by appointment. For further information and images please contact the gallery at +310-559-0100 or info@philipmartingallery.com.Philip Martin Gallery2712 S. La Cienega Blvd.Los Angeles, CA 90034+310-559-0100info@philipmartingallery.com https://philipmartingallery.cargo.site/Exhibition-1812-ABMB Mon, 17 Sep 2018 21:03:19 +0000 philipmartingallery.com https://philipmartingallery.cargo.site/Exhibition-1812-ABMB ︎ Art Basel Miami Beach December 6-9, 2018 Kwame Brathwaite, Brian Bress, Katy Cowan,&nbsp;Tomory Dodge, Nathan Mabry Booth B22 Images / Press Release <img width="432" height="550" width_o="432" height_o="550" data-src="https://freight.cargo.site/t/original/i/3601b6cf1984e73012abd8779ff03a7ce72e2dc9502ec8783394f9beb6636dca/KB_1971_BlackisBeautiful_550px.jpg" data-mid="29739268" border="0" src="https://freight.cargo.site/w/432/i/3601b6cf1984e73012abd8779ff03a7ce72e2dc9502ec8783394f9beb6636dca/KB_1971_BlackisBeautiful_550px.jpg" /> Kwame Brathwaite Untitled (Black is Beautiful Poster from 1970) 1970, printed 2018 Archival pigment print, mounted and framed 60 x 47.5 inches, 152.40 x 120.65 centimeters <img width="357" height="550" width_o="357" height_o="550" data-src="https://freight.cargo.site/t/original/i/78d33feca76bead1e4c1831e9f109535032cdb68a454680e1d6627bae630c991/BB_2018_FlowerArcade_other.jpg" data-mid="29739451" border="0" src="https://freight.cargo.site/w/357/i/78d33feca76bead1e4c1831e9f109535032cdb68a454680e1d6627bae630c991/BB_2018_FlowerArcade_other.jpg" /> Brian Bress&nbsp; Flower Arcade 2018 High definition single-channel video (color), high definition monitor and player, wall mount, framed 39.5 x 23.25 &nbsp; x 3.25 inches, 100.33 x 59.06 x 8.26 centimeters TRT: 34 min., 14 sec., loop <img width="415" height="550" width_o="415" height_o="550" data-src="https://freight.cargo.site/t/original/i/8766e77c753466a19de29a50e6bb0c750a86c5a91c28e36d6ebc16589f7b47cf/KC_Untitled.jpg" data-mid="29739745" border="0" src="https://freight.cargo.site/w/415/i/8766e77c753466a19de29a50e6bb0c750a86c5a91c28e36d6ebc16589f7b47cf/KC_Untitled.jpg" /> Katy Cowan (Ghost; Shadow) Position 2018 Oil and enamel paint, graphite on cast aluminum 48 x 37 x 2 inches, 121.92 x 93.98 x 5.08 centimeters <img width="523" height="550" width_o="523" height_o="550" data-src="https://freight.cargo.site/t/original/i/6aa89c9643f07a488318b892b0b0544b23ef2fb4d2461b25cc680eda19edfeb1/TD_Syllable.jpg" data-mid="29739763" border="0" src="https://freight.cargo.site/w/523/i/6aa89c9643f07a488318b892b0b0544b23ef2fb4d2461b25cc680eda19edfeb1/TD_Syllable.jpg" /> Tomory Dodge Syllable 2018 Oil on canvas 72 x 72 inches, 182.88 x 182.88 centimeters <img width="442" height="550" width_o="442" height_o="550" data-src="https://freight.cargo.site/t/original/i/3bb9cfb58c369368f7f6e11c91fc6b9c792a58df22ba420189f822b451867a2c/NM_NostalgiaoftheInfinite_LaLune_View1_JMC_WEB.jpg" data-mid="29739789" border="0" src="https://freight.cargo.site/w/442/i/3bb9cfb58c369368f7f6e11c91fc6b9c792a58df22ba420189f822b451867a2c/NM_NostalgiaoftheInfinite_LaLune_View1_JMC_WEB.jpg" /> Nathan Mabry The Nostalgia of the Infinite (La Lune) 2018 Aluminum, stainless steel, paint 85.5 x 66.5 x 17 inches, 217.17 x 168.91 x 43.18 centimeters Art Basel Miami Beach | Galleries -- Philip Martin Gallery will present works by five artists of different ages and backgrounds: Kwame BRATHWAITE, Brian BRESS, Katy COWAN, Tomory DODGE and Nathan MABRY. Philip Martin Gallery’s booth is B22.Photographer and media theorist Kwame BRATHWAITE (b. 1938, lives New York) was one of the first people to promote “Black is Beautiful.” A shrewd visual thinker, Brathwaite recognized that in order to change how people thought about themselves, he had to change what they actually saw. Positive images of African-Americans were few and far between in the media landscape of the late 50s/early 60s. Brathwaite set about creating a visual armature where none had existed previously, using his connections in art, fashion and music to disseminate Black is Beautiful - one of the most important ideas of the twentieth century.Brian BRESS (b. 1975, lives Los Angeles) will present new wall-mounted video works. Brian Bress's work reminds us that the relational nature of art objects and screens is both virtual and physical. In contemporary life, we not only do we watch screens - we also touch them, hold them close, and allow them to inhabit, if not define, our personal space and how it works. The sense in which Bress’s ‘screens’ act like paintings, or sculptures, allows his art to push forward not only our sense of what art objects are and what they can do, but also what modern technologies are doing to us.Katy COWAN (b. 1982, lives Los Angeles) will present wall-mounted painted aluminum sculptures. Cowan uses an array of media - ceramics, bronze casting, traditional rope making, fabric dying - to make works that stress the materiality of the art object. Cowan’s rope works are designed to hang on the wall. They utilize the sense of the painterly frame - the grid - as the basis for composition. Cowan’s stretched fabric works call upon the language of textiles, a medium in which Cowan was trained, to point to the presence of herself as a topic in her own works.Tomory DODGE (b. 1974, lives Los Angeles) will present new large-scale abstract oil-on-canvas paintings. Over the course of a nearly twenty year career, Dodge has become known for dynamic paintings that explore the representation and mechanics of picture-making. Painting, one of the oldest means of expression, remains a vital key to understanding the nature of images in modern life, whether they are experienced in the physical world, on our devices, or on-line. Tomory Dodge writes, “I have often talked about paintings being inherently contradictory things. They are objects that are spaces, walls that are windows. They are the intersection of object and image. Painting maintains a physical anchor at a time when the image generally is becoming more and more ethereal - everywhere and nowhere at the same time.“Nathan MABRY (b. 1978, lives Los Angeles) will present “Nostalgia of the Infinite (La Lune).” In a surreal moment, a cast stainless steel bird rests atop a monochrome abstract aluminum sculpture. The metal plate forms are arranged to create a font that spells the letters i-b-i-s. The ibis is a species found all over the world and in the symbolism of many different cultures. In ancient Egyptian mythology, the ibis represents Thoth, the deity that maintains the universe. The large circular form of Mabry’s work is drawn in part from David Smith’s monumental, “Circle I” (1962). Mabry writes that Smith’s work has its own “aesthetic relationships to geometric masks and other celestial systems." Mabry's sculpture stands as a portal and a representation of time. This approach, Mabry writes, "explores an already-told story to reveal new myths.”ARTIST BIOGRAPHIES Kwame BRAITHWAITE (b. 1938, Brooklyn, NY) will be the subject of a major touring exhibition, “Kwame Brathwaite: Black is Beautiful.” The show opens at Skirball Cultural Center in Los Angeles in April 2019. A monograph of the same title, produced by the Aperture Foundation, will be released in spring 2019 with essays by Deborah Wills, Professor and Chair of the Department of Photography and Imaging at Tisch School of the Arts of New York University, and Tanisha C. Ford, Associate Professor of Black American Studies and History at the University of Delaware. Brathwaite’s work has recently been acquired by such institutions as Museum of Modern Art (New York; NY); Whitney Museum of American Art (New York, NY); MIT List Visual Arts Center (Boston, MA); The Frances Young Tang Teaching Museum and Art Gallery at Skidmore College (Saratoga Springs, NY); Museum of the City of New York (New York, NY); Block Museum, Northwestern University (Evanston, IL);&nbsp;Santa Barbara Museum of Art (Santa Barbara, CA); JPMorgan Chase Art Collection (New York, NY); and Sidley Austin LLP (New York, NY). Brathwaite's work has recently appeared in the New York Times, New Yorker, New York Post, New York Magazine, Los Angeles Times, Vogue, Aperture and other publications. He lives and works in New York, NY. Brian BRESS (b. 1975, Norfolk, VA) received his BFA from the Rhode Island School of Design in 1998 and his MFA from the University of California, Los Angeles, in 2006. Brian Bress’s work is currently the subject of “Brian Bress: Pictures Become You” (Akron Art Museum, Akron, OH, October 13, 2018 - April 14, 2019) and “Paradox: The Body in the Age of Al” (Carnegie Mellon University, Pittsburg, PA, October 5, 2018 - February 3, 2019). Bress’s work has been recently featured in such solo and group exhibitions as: “Screens: Virtual Material,” (DeCordova Sculpture Park and Museum, Boston, MA); “In the Box: Brian Bress” (Chrysler Museum of Art, Norfolk, VA); “The Imperfect Tense (for Josef Albers)” (Baltimore Museum of Art, Baltimore, MD); “Commercial Break” (Public Art Fund, New York, NY); and “2016 Moving Image Biennial” (Centre d'Art Contemporain Geneva, Switzerland). Brian Bress’s 2015-16 touring exhibition, “Brian Bress: Make Your Own Friends,” opened at Utah Museum of Fine Arts (Salt Lake City, UT); and traveled to Museum of Contemporary Art Denver (Denver, CO); and Orange County Museum of Art (Newport Beach, CA). Bress has had solo exhibitions and projects at the Los Angeles County Museum of Art (Los Angeles, CA); Museo d'arte contemporanea (MACRO) (Rome, Italy); Santa Barbara Museum of Art (Santa Barbara, CA); and New Museum (New York, NY). His work is the collections of Frederick R. Weisman Art Foundation (Los Angeles, CA); Hammer Museum (Los Angeles, CA); Los Angeles County Museum of Art (Los Angeles, CA); Loyola University Museum of Art (Chicago, IL); Museum of Contemporary Art (Chicago, IL); Museum of Contemporary Art (San Diego, CA); Norton Museum of Art (West Palm Beach, FL); Palm Springs Museum of Art (Palm Springs, CA); Portland Museum of Art (Portland, OR); San Diego Museum of Art (San Diego, CA); Santa Barbara Museum of Art (Santa Barbara, CA); Smart Museum of Art, University of Chicago (Chicago, IL); Utah Museum of Fine Arts (Salt Lake City, UT); Whitney Museum of American Art (New York, NY). He lives and works in Los Angeles, CA. Katy COWAN (b. 1982, lives Los Angeles) received her BFA from University of Puget Sound in 2004 and her MFA from Otis College of Art and Design in 2014. Cowan’s work was the subject of the solo exhibition, “"Reflected-Into- Themselves-Into-Reflected," at the Lynden Sculpture Garden (Milwaukee, WI). Cowan's work has featured in solo and group exhibitions University of Puget Sound (Tacoma, WA); Madison Museum of Contemporary Art (Madison, WI); Synchrotron Radiation Center: Home of Aladdin, (Stoughton, WI); Poor Farm (Manawa, WI); Philip Martin Gallery (Los Angeles, CA); Green Gallery (Milwaukee, WI); Kate Werble Gallery (New York, NY); Fourteen30 Contemporary (Portland, OR); Poor Farm (Manawa, WI). Cowan's work was recently acquired by the Minneapolis Museum of Art (Minneapolis, MN). Her work has been reviewed in ArtForum, Los Angeles, Time, Architectural Digest, Wallpaper*, Contemporary Art Review.LA, Artnet and other publications. She lives and works in Berkeley, CA. Tomory DODGE (b. 1974, Denver, CO) received his BFA from the Rhode Island School of Design in 1998 and his MFA from the California Institute of the Arts in 2004. In the summer of 2018, Dodge’s work was the subject of a solo exhibition at LUX Art Institute (Encinitas, CA). Recent solo and group exhibitions featuring Tomory Dodge’s work include, “Stranger Than Paradise,” Rhode Island School of Design Museum (Providence, RI); “Grafforists,” Torrance Art Museum (Torrance, CA); “Nowism”, Pizzuti Collection (Columbus, OH); “An Appetite For Painting”, National Museum (Oslo, Norway); “Pouring It On”, Herter Art Gallery, University of Massachusetts (Amherst, MA); “Tomory Dodge and Denise Thomasos: Directions to a Dirty Place,” Southeastern Center for Contemporary Art (Winston-Salem, NC); “Future Tense: Reshaping the Landscape,” Neuberger Museum of Art (Purchase, NY); “American Soil,” Nerman Museum of Contemporary Art (Overland Park, KS); “Sheldon Survey,” Sheldon Memorial Gallery, University of Nebraska (Lincoln, NE). Dodge’s work is the subject of several monographic catalogs and has been discussed in such publications as Art Forum, Flash Art, Modern Painters, Art Review, Los Angeles Times and New York Times. His work is in the collections of such museums as Berkeley Art Museum (Berkeley, CA); Henry Art Gallery (Seattle, WA); Dallas Museum of Art (Dallas, TX); Knoxville Museum of Art (Knoxville, TN); Los Angeles County Museum of Art (Los Angeles, CA); Nerman Museum of Contemporary Art (Overland Park, KS); Orange County Museum of Art (Newport Beach, CA); Orlando Museum of Art (Orlando, FL); RISD Museum, Rhode Island School of Design (Providence, RI); San Francisco Museum of Modern Art, (San Francisco, CA); Smithsonian American Art Museum (Washington, DC); Whitney Museum of American Art (New York, NY); Weatherspoon Art Museum (Greensboro, NC); Yale University Art Gallery (New Haven, CT). Dodge lives and works in Los Angeles, CA. Nathan MABRY (b. 1978, lives Los Angeles) received his BFA from the Kansas City Art Institute in 2001 and his MFA from the University of California, Los Angeles in 2004. Mabry’s work will be featured in the upcoming “The Sorcerer’s Burden,” The Contemporary Austin, Austin, TX, September 14, 2019 – January 19, 2020). Nathan Mabry has been the focus of important exhibitions, such as his solo show at the Nasher Sculpture Center (Dallas, TX); “Thing: New Sculpture from Los Angeles” (Hammer Museum, Los Angeles, CA); “Red Eye: Los Angeles Artists from the Rubell Family Collection” (Rubell Family Collection, Miami, FL); and “Thief Among Thieves” (Museum of Contemporary Art, Denver, CO). Mabry’s work is included in the collections of the Hammer Museum (Los Angeles, CA); Los Angeles County Museum of Art (Los Angeles, CA); Orange County Museum of Art (Newport Beach, CA); Museum of Contemporary Art (San Diego, CA); Phoenix Museum of Art (Phoenix; AZ); Dallas Museum of Art (Dallas, TX); Nasher Sculpture Center (Dallas, TX); Nelson-Atkins Museum of Art (Kansas City, MO); Whitney Museum of American Art (New York, NY). Private collections include 176 / Zabludowicz Collection (London, UK); The Rubell Family Collection, (Miami, FL); and Vanhaerents Art Museum (Brussels, Belgium). Mabry’s work has been the subject of reviews and articles in such domestic and international publications as Art in America, Art Forum, Art + Auction, Frieze, Modern Painters, The Art Newspaper, Los Angeles Times, and The New York Times. He lives and works in Los Angeles, CA. Art Basel Miami Beach is located:Miami Beach Convention Center1901 Convention Center DriveMiami Beach, FL 33139. Philip Martin Gallery booth is B22Public DaysThursday, December 6, 2018, 3pm to 8pmFriday, December 7, 2018, 12 noon to 8pmSaturday, December 8, 2018, 12 noon to 8pmSunday, December 9, 2018, 12 noon to 6pm Philip Martin Gallery hours are Tuesday through Saturday from 11am-6pm and by appointment. For further information and images please contact the gallery at +310-559-0100 or info@philipmartingallery.com.Philip Martin Gallery2712 S. La Cienega Blvd.Los Angeles, CA 90034+310-559-0100info@philipmartingallery.com https://philipmartingallery.cargo.site/Exhibition-1811_KB_CelebrityEveryday Tue, 11 Sep 2018 15:05:50 +0000 philipmartingallery.com https://philipmartingallery.cargo.site/Exhibition-1811_KB_CelebrityEveryday ︎ Kwame Brathwaite: Celebrity and the Everyday Co-curated by Jesse Williams and Kwame S. Brathwaite November 3, 2018 - January 12, 2019 Images / Press Release <img width="550" height="550" width_o="550" height_o="550" data-src="https://freight.cargo.site/t/original/i/8d8f6b4cb9c828e14e3777ac4859e41a9055ad9000958359703aecb034e85d1a/AJASS_Location_57_003-2-v1-5000.jpg" data-mid="23977783" border="0" src="https://freight.cargo.site/w/550/i/8d8f6b4cb9c828e14e3777ac4859e41a9055ad9000958359703aecb034e85d1a/AJASS_Location_57_003-2-v1-5000.jpg" /> <img width="550" height="367" width_o="550" height_o="367" data-src="https://freight.cargo.site/t/original/i/b9f6fa7eb196486dc7872a17044c0c24746d086e215ff069fa39c294deec8de1/KB_Unknown_Jackson5_550px.jpg" data-mid="27508294" border="0" src="https://freight.cargo.site/w/550/i/b9f6fa7eb196486dc7872a17044c0c24746d086e215ff069fa39c294deec8de1/KB_Unknown_Jackson5_550px.jpg" /><img width="550" height="550" width_o="550" height_o="550" data-src="https://freight.cargo.site/t/original/i/490d377572bce1e4c0ad617243ca9d8404b83c72ea5bf8c233e89510983b0f8e/106645_002_fr11-v1.jpg" data-mid="24212510" border="0" src="https://freight.cargo.site/w/550/i/490d377572bce1e4c0ad617243ca9d8404b83c72ea5bf8c233e89510983b0f8e/106645_002_fr11-v1.jpg" /><img width="2200" height="1528" width_o="2200" height_o="1528" data-src="https://freight.cargo.site/t/original/i/77210019e73c7730541a84a37823b4dc7d8b986514e4b6b8b797c2ff30d106b7/KB_Ali_GrayDayCongo-550pixel.jpg" data-mid="27508022" border="0" data-scale="74" src="https://freight.cargo.site/w/1000/i/77210019e73c7730541a84a37823b4dc7d8b986514e4b6b8b797c2ff30d106b7/KB_Ali_GrayDayCongo-550pixel.jpg" /><img width="550" height="550" width_o="550" height_o="550" data-src="https://freight.cargo.site/t/original/i/0a88a0df4e91bf762d16cbda9babb6b0376a4b150a10e8a8b69f92e4084a56de/AJASS_2_001_ColorGroupKB-550pixel.jpg" data-mid="27478798" border="0" src="https://freight.cargo.site/w/550/i/0a88a0df4e91bf762d16cbda9babb6b0376a4b150a10e8a8b69f92e4084a56de/AJASS_2_001_ColorGroupKB-550pixel.jpg" /><img width="367" height="550" width_o="367" height_o="550" data-src="https://freight.cargo.site/t/original/i/e13e59ab90dd1c34c90f02089d1bf4e5bc644c89a8b7c3113932824e0429cfe5/KB_1975_Marleyatsoundtrack_MARLEY_LOC_12_034_550px.jpg" data-mid="27508394" border="0" src="https://freight.cargo.site/w/367/i/e13e59ab90dd1c34c90f02089d1bf4e5bc644c89a8b7c3113932824e0429cfe5/KB_1975_Marleyatsoundtrack_MARLEY_LOC_12_034_550px.jpg" /> &nbsp; <img width="367" height="550" width_o="367" height_o="550" data-src="https://freight.cargo.site/t/original/i/bc8c9ca6e03e78457177d1525c48fb77163d9c8ff352047d4be5f56db5208829/KB_Unknown_MarvinGaye_550px.jpg" data-mid="27508305" border="0" src="https://freight.cargo.site/w/367/i/bc8c9ca6e03e78457177d1525c48fb77163d9c8ff352047d4be5f56db5208829/KB_Unknown_MarvinGaye_550px.jpg" /> Philip Martin Gallery is proud to present, “Celebrity and the Everyday,” an exhibition of photographs by Kwame Brathwaite (b. 1938). The exhibition is co-curated by Jesse Williams and Kwame S. Brathwaite. There will be a reception Saturday November 3 from 6-8pm. For almost six decades, Kwame Brathwaite has created positive images of African-Americans and promoted the beauty of everyday people. Brathwaite, his brother Elombe, and the two groups of artist-activists the brothers helped co-found —&nbsp;African Jazz Arts Society and Studios (AJASS) and Grandassa Models — were the first to promote “Black is Beautiful.” “Black is Beautiful” is one of the most influential ideas of the twentieth century. It finds resonance today in contemporary political movements like “Black Lives Matter.” Although Brathwaite is well-known for his photographs of public figures like Muhammad Ali, Bob Marley, and Stevie Wonder, what is not as well-known is the history of these images in American culture, and the role that Brathwaite played along with figures like Ali, Marley, and Wonder in crafting black celebrity as a political tool. Working as an artist and theorist, Brathwaite made photographs of African-Americans that defied negative stereotypes and depicted a new vision of black people. “Untitled (Ethel Parks at AJASS Studios photoshoot)” (1969) presents a young woman against a glowing red background, wearing a headwrap, in the pose of a fashion model. “Untitled (Nomsa Brath at Photoshoot at AJASS Studio)” (1965) features Nomsa Brath in an intimate portrait that both confronts and engages the viewer. The color and black and white tones in Brathwaite’s photographs are stunning; the nuanced black and white tones of which are a result of Brathwaite’s relentless experimentation in the photographic darkroom to better depict the richness of black skin. Brathwaite’s powerful portraits of the 60s are informed by the post-war new consumer landscape. Brathwaite and Grandassa models were often hired by black business owners to attract their consumers through images of everyday people engaged in normal tasks, like buying a bedroom set. Brathwaite also created remarkable staged images like, “Untitled (Naturally '68 photoshoot in the Apollo Theater featuring Grandassa Models and Founding members of AJASS (Frank Adu, Elombe Brath and Ernest Baxter” (1968), which was used for posters. The shot presents engaged artist-activists at the Apollo Theater in New York, next to which Brathwaite established AJASS’s offices in 1962. The designers of AJASS and Grandassa were among first to incorporate African cloths into American avant-garde fashion. Brathwaite was proactive in using the photographic presentation of the individuals that achieve celebrity. As Harry Belafonte commented in his introduction to the 2016 BET Humanitarian Award ceremony honoring the activism of exhibition co-curator Jesse Williams, “I think that for anybody that achieves celebrity, it means that you have captured the imagination of the vast public. For those of us that have had that experience, the great challenge then becomes what do you do with that platform.” As AJASS friends and peers ascended the heights of their own celebrity, they messaged “Black is Beautiful” to a broad American public, one that was widely consuming the artist-production of a new generation of African-American musicians, actors and sports figures. Brathwaite’s “Gray Day on the Congo” (1974) depicts Muhammad Ali sitting on a bench near the Congo River in Zaire, contemplating his upcoming fight with George Foreman. In today’s media climate — one in which celebrities are specifically activating the power of their image and actions to affect change — Brathwaite’s work seems prescient. His photographs are a rich source of ideas. Brathwaite’s photographs are an inspiration for the battles of our current time and engage with the beauty, power and integrity of everyday people. Kwame Brathwaite’s work will be the subject of a major touring exhibition, “Kwame Brathwaite: Black is Beautiful,” that will open at the Skirball Cultural Center in Los Angeles in May 2019:&nbsp;https://aperture.org/exhibition/kwame-brathwaiteblack-beautiful/. &nbsp; A monograph of the same title, produced by the Aperture Foundation, will be released in spring 2019 with essays by Deborah Willis, Professor and Chair of the Department of Photography and Imaging at Tisch School of the Arts of New York University, and Tanisha C. Ford, Associate Professor of Black American Studies and History at the University of Delaware. Brathwaite’s work has recently been acquired by such institutions as Museum of Modern Art (New York; NY); Whitney Museum of American Art (New York, NY); MIT List Visual Arts Center (Boston, MA); The Frances Young Tang Teaching Museum and Art Gallery at Skidmore College (Saratoga Springs, NY);&nbsp;Museum of the City of New York (New York, NY);&nbsp;Santa Barbara Museum of Art (Santa Barbara, CA);&nbsp;JPMorgan Chase Art Collection (New York, NY); and Sidley Austin LLP (New York, NY).&nbsp;Brathwaite's work has recently appeared in the New Yorker, New York Times, New York Post, New York Magazine, Vogue, Aperture and other publications. Jesse Williams is an internationally known actor and activist, as well a burgeoning producer and director. Star of Grey’s Anatomy and former high school teacher, Williams is the son of an artist and long time art patron. His producer credits include “Question Bridge: Black Males,” a transmedia art project redefining African American male identity, acquired as part of the permanent collection at both the Smithsonian National Museum of African American History and Culture and the Brooklyn Museum. Williams produced both the original documentary “Stay Woke: The Black Lives Matter Movement” and Norman Lear’s “America Divided” docuseries. Mr. Williams was famously awarded the 2016 BET Humanitarian Award, where his acceptance speech made international news. Philip Martin Gallery hours are Tuesday through Saturday from 11am-6pm and by appointment. For further information and images please contact the gallery at 310-559-0100 or info@philipmartingallery.com. Philip Martin Gallery2712 S. La Cienega Blvd.Los Angeles, CA 90034+310-559-0100info@philipmartingallery.com https://philipmartingallery.cargo.site/Exhibition-1903_KCPJ Wed, 16 Jan 2019 20:33:39 +0000 philipmartingallery.com https://philipmartingallery.cargo.site/Exhibition-1903_KCPJ ︎ Katy Cowan | Pamela Jorden: The Day in the NightMarch 2 - April 20, 2019 Images / Press Release <img width="951" height="1280" width_o="951" height_o="1280" data-src="https://freight.cargo.site/t/original/i/7db1124496f6383b1657d9b657a8d1d638d18f2cd5f0a5be166030ad7d3c2fe6/P1077194-ADJ-TIFF.jpeg" data-mid="36058761" border="0" src="https://freight.cargo.site/w/951/i/7db1124496f6383b1657d9b657a8d1d638d18f2cd5f0a5be166030ad7d3c2fe6/P1077194-ADJ-TIFF.jpeg" /> Katy Cowan (corresponding fluctuations; light and shadow; river) Position 2019 Oil and enamel paint, graphite on cast aluminum 23.5 x 17 x 5 in59.7 x 43.2 x 12.7 cm <img width="1990" height="2000" width_o="1990" height_o="2000" data-src="https://freight.cargo.site/t/original/i/209a64a6de08b8a17973ef573e9d46c4152f5308a151333cedb7ab324afba8e1/2018_26_untitled_48x48inch.jpeg" data-mid="32934554" border="0" src="https://freight.cargo.site/w/1000/i/209a64a6de08b8a17973ef573e9d46c4152f5308a151333cedb7ab324afba8e1/2018_26_untitled_48x48inch.jpeg" /> Pamela Jorden Untitled (PJ.01.48) 2018 Oil on linen PJ19-01 48 Inches in diameter <img width="1500" height="972" width_o="1500" height_o="972" data-src="https://freight.cargo.site/t/original/i/2258cbccfe0396f5a330aa477e47e5d5cb02f46a43ef670df6e998dcb57eeade/PhilipMartin-2019-03-08_002.jpg" data-mid="38354739" border="0" src="https://freight.cargo.site/w/1000/i/2258cbccfe0396f5a330aa477e47e5d5cb02f46a43ef670df6e998dcb57eeade/PhilipMartin-2019-03-08_002.jpg" /><img width="1500" height="1000" width_o="1500" height_o="1000" data-src="https://freight.cargo.site/t/original/i/76fa4af8cdf51be01c030415e3481e1cd194b19a78e26c5207daf2252b28e64f/PhilipMartin-2019-03-08_003.jpg" data-mid="38354740" border="0" src="https://freight.cargo.site/w/1000/i/76fa4af8cdf51be01c030415e3481e1cd194b19a78e26c5207daf2252b28e64f/PhilipMartin-2019-03-08_003.jpg" /><img width="1500" height="950" width_o="1500" height_o="950" data-src="https://freight.cargo.site/t/original/i/47719e3a45dec7514bcb7678af6980e2bee96faf9380a024f526a82efeb8d7f9/PhilipMartin-2019-03-08_004.jpg" data-mid="38354741" border="0" src="https://freight.cargo.site/w/1000/i/47719e3a45dec7514bcb7678af6980e2bee96faf9380a024f526a82efeb8d7f9/PhilipMartin-2019-03-08_004.jpg" /><img width="1500" height="1000" width_o="1500" height_o="1000" data-src="https://freight.cargo.site/t/original/i/33f08edb211ff1e3f727f00160717591c3a52fb209e4a95e0fa42caf8e9ac22d/PhilipMartin-2019-03-08_005.jpg" data-mid="38354742" border="0" src="https://freight.cargo.site/w/1000/i/33f08edb211ff1e3f727f00160717591c3a52fb209e4a95e0fa42caf8e9ac22d/PhilipMartin-2019-03-08_005.jpg" /><img width="1500" height="956" width_o="1500" height_o="956" data-src="https://freight.cargo.site/t/original/i/67883fc566204bdcee92089880e27126d66ef0778eab91d4892ceb3d2447a0ff/PhilipMartin-2019-03-08_006.jpg" data-mid="38354743" border="0" src="https://freight.cargo.site/w/1000/i/67883fc566204bdcee92089880e27126d66ef0778eab91d4892ceb3d2447a0ff/PhilipMartin-2019-03-08_006.jpg" /><img width="1500" height="938" width_o="1500" height_o="938" data-src="https://freight.cargo.site/t/original/i/9a88db48f5279447aa12395b103c9a3d4acdf59efc1b64b6a4a2d3b3d196020a/PhilipMartin-2019-03-08_007.jpg" data-mid="38354744" border="0" src="https://freight.cargo.site/w/1000/i/9a88db48f5279447aa12395b103c9a3d4acdf59efc1b64b6a4a2d3b3d196020a/PhilipMartin-2019-03-08_007.jpg" /><img width="1500" height="1000" width_o="1500" height_o="1000" data-src="https://freight.cargo.site/t/original/i/90748e9225dbdde84961b86927caf48ec3deb57ec1e21d4d055d15f506fa7f14/PhilipMartin-2019-03-08_008.jpg" data-mid="38354745" border="0" src="https://freight.cargo.site/w/1000/i/90748e9225dbdde84961b86927caf48ec3deb57ec1e21d4d055d15f506fa7f14/PhilipMartin-2019-03-08_008.jpg" /><img width="1500" height="1000" width_o="1500" height_o="1000" data-src="https://freight.cargo.site/t/original/i/10770d37c780dfd1134026180060a833ade58e5b5cfc232d5d89b4398e685031/PhilipMartin-2019-03-08_009.jpg" data-mid="38354746" border="0" src="https://freight.cargo.site/w/1000/i/10770d37c780dfd1134026180060a833ade58e5b5cfc232d5d89b4398e685031/PhilipMartin-2019-03-08_009.jpg" /><img width="1500" height="996" width_o="1500" height_o="996" data-src="https://freight.cargo.site/t/original/i/53c19b252c876decd6d7db5f150eceb2ab5c08d9fe0ca940f4518959c7aca12b/PhilipMartin-2019-03-08_010.jpg" data-mid="38354747" border="0" src="https://freight.cargo.site/w/1000/i/53c19b252c876decd6d7db5f150eceb2ab5c08d9fe0ca940f4518959c7aca12b/PhilipMartin-2019-03-08_010.jpg" /><img width="1500" height="966" width_o="1500" height_o="966" data-src="https://freight.cargo.site/t/original/i/429936bc2839e4dba54df88539075c031f7f6b67927abf6b554ef01e2b5b06c7/PhilipMartin-2019-03-08_011.jpg" data-mid="38354748" border="0" src="https://freight.cargo.site/w/1000/i/429936bc2839e4dba54df88539075c031f7f6b67927abf6b554ef01e2b5b06c7/PhilipMartin-2019-03-08_011.jpg" /><img width="1500" height="967" width_o="1500" height_o="967" data-src="https://freight.cargo.site/t/original/i/8b4ae3ead2d376e69351af94ee39153cf67213de2cfbfb8da92565a5d22f634c/PhilipMartin-2019-03-08_012.jpg" data-mid="38354749" border="0" src="https://freight.cargo.site/w/1000/i/8b4ae3ead2d376e69351af94ee39153cf67213de2cfbfb8da92565a5d22f634c/PhilipMartin-2019-03-08_012.jpg" /> Philip Martin Gallery is delighted to present new works by Katy Cowan and Pamela Jorden. This is the first time the two artists have shown their respective sculptures and paintings together in an exhibition. There will be a reception for the artists Saturday, March 2 from 6-8pm. A CONVERSATION BETWEEN THE ARTISTS Katy Cowan to Pamela Jorden (January 7, 2019) “Two-person exhibition titles are tricky… They seem to be either the names of the artists (which I assume happens moreso when the artists are paired together by the gallery) or a collaborative endeavor (when the artists are actually working together). Our case seems to be a bit in between those two formats - where we have really gorgeous and poetic ties to one another's work, so I think we have the advantage of siding with the poetic (if that's of interest to you of course :) I spent some time looking at your past titles and noticed how they oscillate from object-ness to places to poetic (and maybe personal?) associations. I thought this was quite cool as I find myself taking on a similar strategy with titling. So, with that in mind, I'm starting the process of brainstorming. Parallels in our work that really strike me are the ties to the celestial (embodied in painting armatures, portrayals of celestial bodies, and references to motions of time); the ebb and flow of waterways and light (as portrayed through spilling and fading colors, contrasting with sharp cuts of light); and the ever-present object-ness of our works (whether that be calling attention to the hand of the painter, the armature that paint is applied to, or references to tools of work). So, with those things in mind, I've been thinking of this collapsing, ebbing movement. And the title that I keep getting stuck on (which is a line written in a poem by Scott) is this: the day in the night I think I'm stuck on it, because it suggests a poetic movement (poetic as it’s a confusing oscillating movement of time), its links day labor to night labor (which for me are much different sensibilities), and I think it’s a bit vague (which seems appropriate for our combination in this show).” Pamela Jorden to Katy Cowan &nbsp;(January 8, 2019) “Thanks for taking a look at my titles. I often settle on them at the last minute, and I do have a few different approaches to them like you mention, often associating place and personal experience. Sometimes they are nicknames that I have for a painting that stick, or even initials of an artist that I am thinking about in relation to the piece. Each one of my paintings has its own character, or set of internal relationships that I work through in the process of making, so the titles relate to those ideas, but I think of them as kind of running alongside the painting rather than defining the painting. I love your paragraph about parallels in the work re: the celestial, ebbs and flows, waterways and light. Not sure what else to add except YES!! My absolute ideal is to show work alongside sculpture or work that also explores the object through experimentation and process. The physicality of making and the viewer’s interaction with size, scale, position… that whole phenomenological play is happening in our works. I also think about light, atmosphere, and perception of space in my work. The color fades and bleeds suggest atmospheric space, so there is sometimes pictorial reference to landscape, but the space is often&nbsp;topsy-turvy&nbsp;with multiple horizons, or bending, warping space. Sometimes I think about Alice in Wonderland’s&nbsp;mutable, changeable POVs. I like the day in the night!! I like your ideas about oscillating movement and I think the openness is nice with both our works. I wondered about the day and the night but I think in implies all at once rather than either/or. I think the press release could expand on these&nbsp;ideas in a way that makes sense of the title. A lot of what you wrote about above does that. There is also the clarity and straightforward aspect of the materiality in our works, and then the ambiguity of abstraction. So yes a way to talk about that in a title seems great!” ARTIST BIOGRAPHIES Katy Cowan (b. 1982, Lake Geneva, WI) received her BFA from University of Puget Sound in 2004 and her MFA from Otis College of Art and Design in 2014. Cowan’s work will be the subject of a solo presentation at the Armory Show in New York, March 7-10. Her work was recently the subject of the solo exhibition, “Reflected-Into- Themselves-Into-Reflected," at the Lynden Sculpture Garden (Milwaukee, WI). Cowan's work has been featured in solo and group exhibitions University of Puget Sound (Tacoma, WA); Madison Museum of Contemporary Art (Madison, WI); Synchrotron Radiation Center: Home of Aladdin, (Stoughton, WI); Poor Farm (Manawa, WI); Philip Martin Gallery (Los Angeles, CA); Green Gallery (Milwaukee, WI); Kate Werble Gallery (New York, NY); Fourteen30 Contemporary (Portland, OR); Poor Farm (Manawa, WI). Cowan's work is in such public and private collections as the Minneapolis Museum of Art (Minneapolis, MN); Lynden Sculpture Garden (Milwaukee, WI); Art in Embassies (Maputo, Mozambique) and Northwestern Mutual Insurance. Her work has been reviewed in Artforum, Los Angeles Times, Architectural Digest, Wallpaper*, Contemporary Art Review.LA, Artnet and other publications. She lives and works in Berkeley, CA. Pamela Jorden (b. 1969, Knoxville, TN) received her BFA from University of Tennessee, Knoxville in 1992 and her MFA from California Institute of the Arts in 1996. Jorden has had solo exhibitions at Klaus Von Nichtssagend Gallery (New York, NY); Romer Young Gallery (San Francisco, CA); David Patton Los Angeles (Los Angeles, CA); and Mason Gross Art Gallery, Rutgers University (New Brunswick, NJ). Selected group exhibitions include Around Flat, Knockdown Center (Maspeth, NY); NOW-ISM: Abstraction Today at the Pizzuti Collection (Columbus, Ohio); Alice Konitz, Pamela Jorden, Jeff Ono at Samuel Freeman Gallery (Los Angeles, CA); Forms of Abstraction at the Irvine Fine Arts Center (Irvine, CA). Her work has been reviewed in numerous print and online publications including Art Forum, Art in America, ArtNews, and ArtPractical. A monograph, Pamela Jorden 2004-2014, with an essay by Sarah Lehrer-Graiwer and a conversation with Kaveri Nair and Alice Könitz has been released through Klaus von Nichtssagend Gallery and Black Dog Publishing. She lives and works in Los Angeles, CA. Philip Martin Gallery hours are Tuesday through Saturday from 11am-6pm and by appointment. For further information and images please contact the gallery at 310-559-0100 or info@philipmartingallery.com. Philip Martin Gallery2712 S. La Cienega Blvd.Los Angeles, CA 90034+310-559-0100info@philipmartingallery.com https://philipmartingallery.cargo.site/Exhibition-1902-ALAC-TD-ASM Wed, 13 Feb 2019 14:28:38 +0000 philipmartingallery.com https://philipmartingallery.cargo.site/Exhibition-1902-ALAC-TD-ASM ︎ Art Los Angeles Contemporary Tomory Dodge | Adam Silverman February 13-17, 2019 Images / Press Release <img width="1254" height="1500" width_o="1254" height_o="1500" data-src="https://freight.cargo.site/t/original/i/b00699587e55a7a55cc5a3e0a3d3b5c8bda03cf23adf11cf0c52b3f40584d834/_DSC2716-small.jpg" data-mid="35326903" border="0" src="https://freight.cargo.site/w/1000/i/b00699587e55a7a55cc5a3e0a3d3b5c8bda03cf23adf11cf0c52b3f40584d834/_DSC2716-small.jpg" /> Tomory Dodge Chemist 2019 Oil on canvas 72 x 60 inches 182.88 x 152.4 cm <img width="6831" height="10246" width_o="6831" height_o="10246" data-src="https://freight.cargo.site/t/original/i/84a23351b215b113f95165532ebb6efaf498e437456d3737f8727a1b39a7f23a/Photo-Joshua_White-jwpictures.com-6713.jpg" data-mid="35327231" border="0" src="https://freight.cargo.site/w/1000/i/84a23351b215b113f95165532ebb6efaf498e437456d3737f8727a1b39a7f23a/Photo-Joshua_White-jwpictures.com-6713.jpg" />Adam SilvermanUntitled, 2019Stoneware16 x 10 x 11 in40.6 x 25.4 x 27.9 cm(ASM19-04-19.3) Press ReleaseAt the 2019 Edition of Art Los Angeles Contemporary Philip Martin Gallery presents new works by painter Tomory Dodge and ceramicist Adam Silverman.Art Los Angeles Contemporary is located: The Barker Hangar 3021 Airport Avenue Santa Monica, CA 90405 Philip Martin Gallery booth is C1. Public DaysThursday, February 14, 11am–6pm Friday, February 15, 11am–6pm Saturday, February 16, 11am–7pm Sunday, February 17, 11am–6pm Philip Martin Gallery hours are Tuesday through Saturday from 11am-6pm and by appointment. For further information and images please contact the gallery at +310-559-0100 or info@philipmartingallery.com.Philip Martin Gallery2712 S. La Cienega Blvd.Los Angeles, CA 90034+310-559-0100info@philipmartingallery.com https://philipmartingallery.cargo.site/Exhibition-1901_EB Sun, 06 Jan 2019 16:23:07 +0000 philipmartingallery.com https://philipmartingallery.cargo.site/Exhibition-1901_EB ︎ Ericka BeckmanJanuary 19 - February 23, 2019 Images / Press Release <img width="1500" height="996" width_o="1500" height_o="996" data-src="https://freight.cargo.site/t/original/i/e25c771578be08a4622b35590103c6bb55c8eb7a5aa8d31a3d215cf6b91a1987/PhilipMartin-2019-01-18_002.jpg" data-mid="33172494" border="0" src="https://freight.cargo.site/w/1000/i/e25c771578be08a4622b35590103c6bb55c8eb7a5aa8d31a3d215cf6b91a1987/PhilipMartin-2019-01-18_002.jpg" /><img width="1500" height="1001" width_o="1500" height_o="1001" data-src="https://freight.cargo.site/t/original/i/c6f2859780855732ed1237a0d8142c7b8d44580ef6df517c7aefd735741f2444/PhilipMartin-2019-01-18_003.jpg" data-mid="33172495" border="0" src="https://freight.cargo.site/w/1000/i/c6f2859780855732ed1237a0d8142c7b8d44580ef6df517c7aefd735741f2444/PhilipMartin-2019-01-18_003.jpg" /><img width="1500" height="1000" width_o="1500" height_o="1000" data-src="https://freight.cargo.site/t/original/i/a7fdada6f19f82f1ea40f20301f4fb381fb7a23a18e56d74722dd58bb2e32d11/PhilipMartin-2019-01-18_009.jpg" data-mid="33172496" border="0" src="https://freight.cargo.site/w/1000/i/a7fdada6f19f82f1ea40f20301f4fb381fb7a23a18e56d74722dd58bb2e32d11/PhilipMartin-2019-01-18_009.jpg" /><img width="1500" height="1000" width_o="1500" height_o="1000" data-src="https://freight.cargo.site/t/original/i/8a385201db724905be80a954dab181c117b5d2e2c695e5925c162a00bab99858/PhilipMartin-2019-01-18_011.jpg" data-mid="33172497" border="0" src="https://freight.cargo.site/w/1000/i/8a385201db724905be80a954dab181c117b5d2e2c695e5925c162a00bab99858/PhilipMartin-2019-01-18_011.jpg" /><img width="1500" height="1000" width_o="1500" height_o="1000" data-src="https://freight.cargo.site/t/original/i/9ed0e2735435600088db5784cf6a26192312bc187f5a786a5abd7ec6145f2163/PhilipMartin-2019-01-18_012.jpg" data-mid="33172498" border="0" src="https://freight.cargo.site/w/1000/i/9ed0e2735435600088db5784cf6a26192312bc187f5a786a5abd7ec6145f2163/PhilipMartin-2019-01-18_012.jpg" /><img width="1500" height="1001" width_o="1500" height_o="1001" data-src="https://freight.cargo.site/t/original/i/6e2c90cab2ac5c3ac576a0bd1ce843bfda902af525a3caab5a88d205bc81ebcc/PhilipMartin-2019-01-18_014.jpg" data-mid="33172499" border="0" src="https://freight.cargo.site/w/1000/i/6e2c90cab2ac5c3ac576a0bd1ce843bfda902af525a3caab5a88d205bc81ebcc/PhilipMartin-2019-01-18_014.jpg" /> Ericka Beckman January 19 - February 23, 2019 Philip Martin Gallery is pleased to present two films by Ericka Beckman: “Frame UP” (2005) and “Tension Building” (2016).Philip Martin Gallery's presentation of Ericka Beckman's “Frame UP” and “Tension Building” follows on its previous exhibition of her 2002 film, “Switch Center." These films use the structure of games and architecture&nbsp;to investigate labor and capital, social roles and social responsibilities. All three films were shot on location, rather than in a black box, as was Beckman's method in&nbsp;earlier works.In 2005, Walker Art Center senior curator of Film/Video Sheryl Mousley approached Ericka Beckman to film during the construction of the museum’s new building. Beckman's previous film, “Switch Center,” which she had just completed, was filmed in a former Soviet-era water treatment plant in Budapest. For “Frame UP,” Beckman set up multiple cameras at the perimeter of the new Walker building site, designed by Swiss architects Herzog and de Meuron, in order to capture its construction through time-lapse photography. Beckman used Super 8, High 8 and VHS video and edited throughout the shooting process.Beckman recalled the process of making “Frame UP” in a recent interview with the Walker’s Bentson film scholar Isla Leaver-Yap: “The construction site became the pinball [machine] “backglass” for the structure of this film. I looked at the workers as dancers. With my camera, I followed the movement of materials through this space and, specifically, how they were transported and handled by workers. I looked for various pinball references on the construction site – that meant looking for shafts, for paddles, inclines and sockets.” Beckman points out her belief that the body communicates “through signs and gestures.” In “Frame UP,” the movement of the “ball” leads the viewer through its two-screen presentation, the action of the players, and a soundscape composed of recordings Beckman accumulated of toys, games and an actual pinball machine. Beckman has long-standing interest in games as a means by which to model how individuals in society learn their roles. The performers in Beckman’s work are often cast as “players.” These players then participate in a narrative in which they seek to complete a task or win a competition, the rules of which reflect economics and gender. “Tension Building” was shot on location at both Harvard Stadium in Boston and Artemio Franchi Muncipal Stadium in Florence, Italy. Spectator sport has been a subject of such Beckman works as “You the Better” (1983). Beckman updated “Tension Building” after the election of Donald Trump “to bring out a critique of spectacle in American culture." Beckman adds that, "'You the Better' features spectacle sports; the guys perform to a set of rules but miss the whole point of what they’re doing. That idea of spectacle sports is enhanced in 'Tension Building,' which gnaws at American culture and what we have become recently.” Through shots that emphasize the circularity and structure of the stadium, and the repetitive action of the football players and cheerleaders, Beckman’s work reflects on the games, societal and otherwise that we are all programmed to play.A solo exhibition of Ericka Beckman’s work opens at KANAL Centre Pompidou (Brussels, Belgium) January 2019. An American exhibition, curated by Henriette Huldisch, opens at MIT List Visual Arts Center (Boston, MA) in May 2019. &nbsp;Ericka Beckman’s work was featured in recent solo exhibitions at Secession (Vienna, Austria, catalog); KW Institute for Contemporary Art (Berlin, Germany); Zabludowicz Collection (London, UK, catalog); and Tate Modern (London, UK, catalog). A solo museum show of Beckman’s work opened at Kunsthalle Bern (2013, Bern, Switzerland; traveled to Le Magasin-Centre National d'Art Contemporain de Grenoble 2014, Grenoble, France). A monograph on Beckman’s work, edited by Lionel Bovier, Fabrice Stroun and Geraldine Tedder, was released by JRP Ringier summer 2016. &nbsp;Beckman’s work has appeared in group exhibitions at &nbsp;Walker Art Center (Minneapolis, MN); The Broad (Los Angeles, CA); Centre Pompidou (Paris, France); Castello di Rivoli Museo d'Arte Contemporanea (Turin, Italy); and Swiss Institute (New York, NY). Beckman’s work has been included in four Whitney Biennials as well as “The Pictures Generation 1974-1984,” curated by Douglas Eklund (Metropolitan Museum of Art, New York, 2009). Her work is in such museum collections as Museum of Modern Art (New York, NY); Whitney Museum of American Art (New York, NY); Metropolitan Museum of Art (New York, NY); Walker Art Center (Minneapolis, MN); Wexner Center for the Arts (Columbus, OH); Centre Pompidou (Paris, France) and Kunsthalle Bern (Bern, Switzerland). Beckman lives and works in New York.Philip Martin Gallery hours are Tuesday through Saturday from 11am-6pm and by appointment. For further information and images please contact the gallery at +310-559-0100 or info@philipmartingallery.com.Philip Martin Gallery2712 S. La Cienega Blvd.Los Angeles, CA 90034+310-559-0100info@philipmartingallery.com