Category Archives: Uncategorized

Rendering, November 8th – 23rd, 2014 – content

November 8, 2014Uncategorizedscottpgoodman@gmail.com

RENDERING

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PRESS RELEASE
Rendering
Curated by Scott Goodman
Nov 8 – 23
Opening reception: Saturday, November 8 from 6-9pm
1100 Broadway, Brooklyn, NY 11221

Featuring: Graham Anderson, Jerry Blackman, Andrew Graham, Caitlin Keogh, Carly Mark, Matthew Palladino, Ben Sanders, and Eric Shaw

Good Work Gallery is pleased to present rendering, an exhibition of paintings displaying graphic characteristics of clipart, logos, textile patterns and other visuals of a commercial nature. This group of artists, who are digital natives, re-approach mainstream sensibilities on their own terms, and in doing so, create paintings which draw on and refresh histories of Pop imagery. The impersonal, immediate, and immaterial qualities of the digital image are contrasted and underlined by the intrinsically human, physical act of painting by hand, using a brush.

Replicating a mechanical line with paint requires restriction of the body to only the most essential movements to carrying out the task. The pulsation of blood through one’s veins and capillaries, or the expansion and contraction of the lungs is enough to disturb the trajectory of a line being drawn between two points. The comparison of man to machine-made production brings attention to the shifting role of the artist in relation to evolving image-making technologies. By implementing painting to produce the effects of machinery, as is the case with the works in this show, the artist mimics the machine, suspending aspects of their own humanity while also accentuating it in the act.

Matthew Palladino’s The Draftsman’s Malaise depicts a space entirely composed of clip art, in which a canvas sits perched on an easel articulated in bold black lines of eerily uniform weight. The pictured canvas features three red cups containing the same arrangement of drafting tools: two pencils, a pair of exacto knives, a ruler, and a paintbrush; all utensils that imply the artists’ hand.

Graham Anderson depicts malleable, planar worlds, mechanically bending comic elements within them around each other. Untitled, depicts a folded cat in an autoerotic sexual act. Whether the image is a highly stylized depiction of a real cat or a realistic depiction of a stylized cat is ambiguous.

Ben Sanders and Eric Shaw incorporate flat sharply delineated brush-stroke-like shapes that simultaneously direct our attention to the gestural application of paint by hand and to the computerized simulation of a paintbrush tool made available through graphic editing programs like Adobe Illustrator and Photoshop.

Carly Mark’s floral design in Event Horizon calls to mind the copy/paste and fill commands used for transferring, extending and flooding data from multiple sources.

Andrew Graham mimics the graphic and formal qualities of the CAPTCHA, an acronym for “Completely Automated Public Turing test to tell Computers and Humans Apart,” which tests the presence of a human onlooker by their ability to recognize, separate, and contextualize distorted numerical and alphabetical combinations.

Jerry Blackman’s untitled series of hybridized cartoons also tests human recognition by splicing together attributes of popular cartoon characters we know from screen and print. The sensation of being reintroduced to ones own family in the horrific aftermath of a facial transplant surgery is evoked. Winnie the Pooh’s ears protrude from Garfield’s head while Bamm-Bamm’s skeleton has somehow slipped under a Bart Simpsons skin suit.

The articulation of Caitlin Keogh’s Argyle patterning in Successful Multiple Retailers draws from textile design. It softly, subtly undulates in a decidedly human manner that glories in fallibility as much as in control and precision.

Opening hours: Saturday & Sunday, 12 – 6pm, and by appointment

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And now for a special treat…

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Lazy Mom: Still Lives, September 20th – October 19th, 2014 – content

September 20, 2014Uncategorizedscottpgoodman@gmail.com

Lazy Mom : Still Lives

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LAZY MOM
Still Lives
Sept 20 – Oct 19, 2014
opening reception:
Saturday Sept 20, 2014 6 – 9 PM

“It’s so beautifully arranged on the plate—you know someone’s fingers have been all over it.”

– Julia Child

Good Work Gallery is pleased to present Still Lives, a solo exhibition of photographs and sculptures by LAZY MOM, a collaboration between artists Josie Keefe and Phyllis Ma. This exhibition marks the first LAZY MOM exhibition in New York, and will be on view from September 20 to October 19, 2014.

Still Lives explores imaginative tangents on traditional food photography in the form of still lifes. The images reference art history and modern commercial aesthetics, from Flemish painting and product photography to culinary plating techniques. However, instead of emphasizing or advertising taste and smell visually, Still Lives features food and other familiar objects in compositions that suggest otherworldly landscapes and portraits. Objects are removed from any direct narrative or purpose but retain a sense of anthropomorphic emotion.

Depicted are commonplace items such as fruit, flowers and money, combined into formations of dreamlike kitsch. For instance, Geometric Floral shows a bouquet of brightly colored bodega flowers, dissembled and then reassembled into a perfect cube of household gelatin. Stripes of raw bacon are wrapped around cotton candy pink hair rollers, suggesting the capricious whims of a bored housewife. And a baloney sandwich is rearranged based on a set of undisclosed aesthetic rules. Through humor, LAZY MOM deconstructs tradition feminine icons of sentimentality and preciousness, and imbues them with a new sense of order and significance. It is as if Mom is showing us the beauty of the world while telling us, “Here, go make yourself a sandwich.”

In exploring another definition of “humor,” the images in Still Lives are organized into families based on Greco-Roman proto-psychological concept of the four humors. The idea refers to bodily fluids that were thought to define a person’s personality and health, and consist of choleric (risk takers), sanguine (light), melancholic (introverted), and phlegmatic (calm). This is an early example of how man created basic artificial systems in order to understand the natural world. By grouping the images into four humors, personalities of the still lifes are emphasized and objects are transformed from order to chaos and then back to an absurd level of organization. In this way, LAZY MOM dismantles man’s attempts to order nature by creating a new aesthetic system from banal materials. These carefully manipulated arrangements create a landscape of domestic detritus where the real and fake merge to form the surreal.

Josie Keefe was born in 1987 Syracuse, New York and lives and works in New York City. She studied anthropology and visual arts at Columbia University, and has worked as a prop stylist. Phyllis Ma was born in 1987 Guangzhou, China and lives and works in New York City. She studied visual arts at Columbia University as well as fashion design at the Fashion Institute of Technology.

LAZY MOM is their first collaboration, born from their first self-published photography zine titled “LAZY WOW.” “Still Lives” showcases images produced for this zine, along with images that have culminated into their second zine of the same title as the exhibition. “LAZY WOW” is currently available at MoMA PS1, the New Museum, Printed Matter, and at www.lazymomnyc.com

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Elemental, July 11th – August 3rd, 2014 – content

July 11, 2014Uncategorizedscottpgoodman@gmail.com

Elemental

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Al Bedell, Portrait of a Frenemy

Angelina Dreem, LA RUBIA

Molly Soda, Slushy

PRESS RELEASE
Elemental
curated by Sara Blazej
July 11 – August 3, 2014
Opening reception:
Friday July 11, 2014 6 – 9 PM

Featuring: Al Bedell, Alli Coates, Andrew Ross, Angelina Dreem, Ann Hirsch, Ashley Zangle, Carly Mark, Signe Pierce, and Molly Soda.

Good Work Gallery presents Elemental, a group exhibition and video screenings featuring nine artists working within a variety of interests and mediums. Asked to contribute work that engages with the linguistically malleable theme, the participants’ responses culminate in a playfully diverse arrangement of video, sculpture, painting and drawing – all multidirectional expansions on the term “elemental.”

In it’s initial stages of conception, the theme looked primarily at the classical elements – earth, air, fire, water, and aether – and the respective characteristics associated with them. Angelina Dreem’s film La Rubia features a female protagonist who represents the fifth element, aether. For Dreem, the work “examines a female’s relationship to the elemental forces that protect us and torment us in moments of loneliness and isolation.”

Molly Soda and Carly Mark formally manipulate the term, conveying the topic in its capacity as a part, or parts, of a greater whole – whether as a system of linework constructing a larger pattern, as seen in Mark’s intricate floral design drawings, or as simultaneously occurring action in multiple screens, as in Soda’s video Slushy. Moreover, Slushy demonstrate two base elements in the form of commodity perversions: ice becomes a sugary frozen drink, while fire is reduced to a lit cigarette.

Similarly, Signe Pierce and Alli Coates’ darkly intensified Girls Gone Wild spoof takes place in a tropical setting in which natural elements are combined with nature-based artifice. The scenery, trees, ground, and water present in the film are manicured, paved and sterilized to be marketed collectively as a luxury destination – much like the central female figure has been “modified” and framed by the “male” videographer for hypersexualization.

Drawing from the more tangible world of chemical elements, Andrew Ross’s aluminum structure and Ashley Zangle’s crystallized shampoo painting point to a process-based engagement with the physical properties and form of their materials. Meanwhile, Ann Hirsch’s surreal mixed media portrait That She Devil Jew Lady, and Al Bedell’s reductive social guide Frienemies further widen the lexemic parameters of “Elemental,” referencing social and sexual psychology in its elementary states.

Video screenings featuring the work of Angelina Dreem, Carly Mark, Signe Pierce and Alli Coates, Al Bedell and Molly Soda will be held every Saturday and Sunday for the duration of the show.

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Spring Mix, May 30th – June 15th, 2014 – content

May 30, 2014Uncategorizedscottpgoodman@gmail.com

Spring Mix

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PRESS RELEASE
Spring Mix
May 30 – June 15, 2014. Sat-Sun 12-6pm
Opening Reception: Friday May 30, 7 PM.

Good Work Gallery is pleased to present Spring Mix, a group exhibition in conjunction with Bushwick Open Studios featuring work contributed by the artists of 1100 Broadway: Michael Assiff, Chantri Collective, Emily Collins, Scott Goodman, Phyllis Ma, Alex Philips, Saki Sato, Ashley Zangle and Faren Ziello. Good Work is the storefront exhibition space connected to 1100 Broadway studios. Coming from an eclectic mix of arts and cultural backgrounds, each artist has submitted a piece that will be on display for the duration of BOS. In addition, visitors will be able to view works in the context of the studios they were created in.

Michael Assiff (b. 1983) St. Petersburg, Florida
Michael will be displaying three poured plastic paintings of golf course fairways. Assiff’s work engages in the aesthetics of deforestation, the anthropogenic rainforest, and energy drink culture. Within the three fairway paintings, as par for the course with Michael’s work, there is imagery lifted from 19th century landscape painter Henri Rousseau’s junglescapes, which offer a highly atomized, mechanistic specter of nature.

Chantri Collective is a Thai performance art group started in New York City in 2012 by Korakrit Aranundchai (b. 1986), an artist living in New York and Bangkok, Thailand. He attended Bangkok Christian college and the new international school of Thailand. He has recently been making work after the Thai performance artist Duangjai Jansaonoi and the Thai national artist Chalermchai Kositpipat.

Emily Collins (b.1986) New York, New York
Emily has participated in the world of storytelling using various mediums from animation and illustration to theater and sculpture to create her pieces. Among the work that will be included will be a collection of frames from her current animation/live-action documentary project Rafael.

Scott Goodman (b.1983) New York, New York
Scott is the Director of Good Work Gallery and shares the studio at 1100 Broadway. He will be displaying pieces that work with domestic and showroom space. Scott creates completely flat works that use facades and interior design elements distilled from the language of commercial signage and display.

Phyllis Ma (b.1987) Guangzhou, China
Phyllis will be showing a trio of garments inspired by Emoji icons expanded to absurd proportions. Mixing the rigor of fashion sewing techniques with the tactility of painting, she creates pieces that question the form and function of clothing.

Alexandra Philips (b.1988) Raleigh, North Carolina
Alexandra will include selections from a new body of work comprised of banners and sculptures. This work explores the intersection of the natural and the man made, combining the casual language of advertising and everyday objects with a more formal sculptural language.

Saki Sato (b. 1987) Oceanside, NY
Saki creates over-simplified and exaggerated pieces using symbols and everyday objects that even a child could understand. Her sculptures and video use familiar forms to draw in viewers, while not initially giving away the deeper meaning behind the piece. At first glance the subject matter may look like it was stolen from Candy Land, but holds a heavier meaning underneath its familiar surface.

Ashley Zangle (b. 1985) Babylon, New York
Ashley is including a poured pigment and bubble bath work on paper. The pour, like much of her work, harnesses a natural process in a controlled environment to create works that appear to be natural objects. On closer inspection something suspicious reveals itself, something ominous and inorganic disrupts the beauty; like a lab made mineral or fluorescent dyed fish in a pet store whose unearthly glow raises questions of authenticity.

Faren Ziello (b.1986) Huntington, New York Faren’s art juxtaposes the banal and fanciful looking for the eccentricities that lie within monotonous everyday moments, using animation, collage, and sculptures to transform the mundane into the absurd using a cacophony of color and emotion to cause viewers to shift from delight to discomfort on a dime.

Opening Hours: Saturday and Sunday, 12PM – 6PM, and by appointment.

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Factory Fictions, May 3rd – 25th, 2014 – content

May 3, 2014Uncategorizedscottpgoodman@gmail.com

Factory Fictions

PRESS RELEASE
Factory Fictions
Curated by John J. McGurk
Featuring Andrew Graham and Matthew Plummer-Fernandez.

May 3 – May 25, 2014. Sat-Sun 12-6pm
Opening Reception: Saturday May 3, 6 – 8 PM.

Good Work Gallery presents Factory Fictions, an exhibition curated by John J McGurk.

“Factory Fictions” highlights the work of two artists using just a few of the forever expanding technologies available to artists in the 21st century. The artists in this exhibition are creating a whole new aesthetic vocabulary and sensibility, while also embracing shifting notions of production and commoditization. “Factory Fictions” features the work of two emerging artists Andrew Graham and Matthew Plummer-Fernandez.

Andrew Graham is a painter based in Brooklyn, NY. Presenting a brand new series of works created solely on his smart phone, Graham has truly made the city his studio. Able to paint at any place, any time, he is using technology to fulfill his own desire for creative production and simultaneously modernizing the traditional notion of the plein air painter. Graham’s large-scale prints are a window into the lyrical and frenetic world of an American city that never sleeps.

Matthew Plummer-Fernandez is a designer and artist based in London, England. Using 3-D scanning technology, photo equipment and custom developed 3-D interfaces; Plummer-Fernandez takes everyday household objects and creates new and visually stunning 3-D sculptures. With his works, Plummer-Fernandez is not only working with the formal aspects of representation, but quite possibly revolutionizing our ideas about the production and showcasing of art and artifacts.

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ABOUT JOHN J. MCGURK, CURATOR
McGurk Art Advisory
John J. McGurk an independent curator and advisor, has founded numerous projects and organizations intended to bring exposure to emerging and mid-career contemporary artists. He is presently Associate Director with House of the Nobleman, a curatorial and advisory firm in London and NYC. <a href=”http://www.mcgurkartadvisory.com/”>www.mcgurkartadvisory.com</a>
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First Responders, April 5th – 20th, 2014 – content

April 5, 2014Uncategorizedscottpgoodman@gmail.com

First Responders

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sam Mckinniss, The Quick and the Dead

Sam Mckinniss, Ghost Face

Orion Martin, Career and Magic, 2014

Ariel Dill, Glyph. 2013

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Kyle Petreycik, High Power,2014

Kyle Petreycik, Decade

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Katie Loselle, Untitled, 2013

Katie Loselle, This is a Story About a Witch, 2014

Eric Shaw, Untitled (Yellow Z)

Ben Horns, Daniels Shirt (2008), 2014

Eric Shaw, Untitled (Blue Squares) 2014

Deanna Havas, Found Abstract Renders, 2012

PRESS RELEASE
First responders
curated by Zach Smith
April 5 – 20, 2014
Opening reception:
Saturday April 5, 2014 7 – 10 PM

featuring: Ariel Dill, Marley Freeman, Deanna Havas, Ben Horns, Katie Loselle, Orion Martin, Sam McKinniss, Kyle Petreycik, and Eric Shaw.

Good Work Gallery presents First Responders, an exhibition organized by curator Zach Smith that features a dynamic group of works from a selection of contemporary artists working in a range of media. The paintings, sculptures and photographic prints included in the show are united in their individually separate progressions from a universally fundamental state, characterized, as most works are, by the sketch, specifically the gesture. First Responders seeks to expand traditional roles of drawing and works on paper as expressions, within studio practice, of that primary urge to draw, articulating contemporary evolutions of a first inchoate response to some obscure desire.

“Originally, First Responders was a show of works on paper. I wanted to loosen the general sense of that milieu and see where new artists fit in with it. I looked for near-platonic instances of visceral reaction – artists as trained practitioners, rushing to the scene of abstract crises. The end result would be a collection of outlier-works everyone’s broader practice wouldn’t automatically suggest.

My inquiry became all the more intriguing when I couldn’t figure out how any one person might approach this challenge. Do artists truly quit drawing as studio practices branch elsewhere? Is there still a pseudo-scientific impulse for order that never goes away? I figured out ‘gesture’ was the answer. Dumb, easily learned, and looking good in lobbies all over the world, gesture is for me the absolute. It is completely irreducible.

It’s best to parse this idea as smart and dumb role-playing each other. Given the quickened pace of contemporary appropriation, lobby art could inspire serious painting. Painting can breathe a sigh of relief. In this endlessly post-minimal landscape, gesture grows evermore optimistic. And really, optimism is the core of what I’m getting at. The elemental is kinetic, not potential. The animate is there before it has something to animate. The same qualities skeptics of a work call vacuous are often what make it most trenchant. Every time artists find another way of transposing mass culture, knee-jerk readings of the work as being flippant remerge. I’m not sure there’s a viable alternative though. The prevalence of boredom, insouciance and spleen as key catalysts for emerging art is well documented. Reflection doesn’t guarantee thorough results. Impulse can be refined, but flashes of the uncanny are rarely if ever reverse engineered.

Besides, I can only “engage” with a work once I’ve decided it looks amazing. Maybe that’s just me, being of a pictures generation. Gesture now holds the same semantic function as ‘drawing’ or ‘works on paper’. Whether rigorous or not, It is goofy and good-natured. Ecstatic rapturous newness needn’t pay lip service to history. But it had best show up on time, before everyone else, lest the spirit of a moment flatline and tap out forever.”

–Zach Smith

Opening reception: Sat, April 5th, 7-10pm
Open for Viewing: Sat and Sun, April 5 – 20, 1 – 7pm and by appointment.

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Ben Sisto: Used Books, March 7th – 16th, 2014 – content

March 7, 2014Uncategorizedscottpgoodman@gmail.com

Ben Sisto : Used Books

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PRESS RELEASE
Ben Sisto: Used Books
March 7 – 16, 2014
Opening reception:
Friday March 7, 2014 7 – 10 PM

Good Work Gallery is pleased to announce an exhibition of work by Ben Sisto.

Taking nods from Conceptualism, and with a fondness for free culture and secondary markets, Ben Sisto’swork cuts —sometimes literally— through years of canonical figures from art history up to the present. The punningly descriptive title Used Books explains both the collected works’ methodology and sources: all materials on display have been purchased second-hand via online retailers (Albris, Abe Books, etc) and local shops (The Strand, Book Thug Nation, Spoonbill & Sugartown, etc).

While he is pleased to consider monetary offers for the works on display in this exhibition, Sisto insists they be viewed primarily as versions of affordable art anyone can collect and create.

Among the works in this exhibition, two address a Cagean non-static conception of repetition:

In the ongoing work Interaction of Interaction of Color Sisto seeks out all 28 print-runs of the 1979 revised edition of Joseph Albers’ seminal Interaction of Color (Yale). Presenting the copies collected thus far calls attention to minor discrepancies in the back-cover’s layout (a collage designed by Eva Hesse) which, along with the different copies’ yellowing and wear, constitute the piece’s titular “interaction.”

With Pair, Sisto playfully applies the same treatment to two copies of a Roni Horn exhibition catalog. When offset slightly (vertically), Horn’s original apparently near-identical sculptures intended for exhibition in separate rooms now appear in the same expanded space.

The public is invited to view these works and others at a reception for the artist March 7th from 7-10pm.

Joshua Caleb Weibley

Brooklyn, NY 2014

Opening hours: Sat March 8, Sun March 9, Sat March 15, Sun March 16, 2014. 10AM – 6PM

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Alvarino Klein Design Production Systems Team: New Work, January 18th – 26th, 2014 – content

January 18, 2014Uncategorizedscottpgoodman@gmail.com

Alvarino Klein Design Production Systems Team: New Work

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PRESS RELEASE
Alvarino Klein Production Systems Team: New Work
January 18 – 26, 2014
Opening reception:
Saturday January 18, 2014 6 – 9 PM

Good Work Gallery presents New Work by Alvarino Klein Design Production Systems Team. The paintings included in the exhibition are the second installment in a series of large-scale works commissioned by a real estate company located in Miami, Florida, where they will be displayed after the close of this show. In its presentation here, the series suggests a critical re-framing of the Abstract Expressionist movement’s popularity among corporate interests. The artists will be creating new paintings in the gallery during the night of the opening reception. Alvarino Klein Design Production Systems Team is the collaborative effort of Miguel Alvarino and Nick Klein; this is their debut exhibition.

“We bring to life our dream to be the Best Design Production Systems Team in a Better World through Our World. Our Responsibility. Our goal is to connect our efforts to a collective responsibility we share with our employees, consumers, wholesalers, retailers, law enforcement, elected officials, educators and other partners. After all, these are our roads, our kids, our neighborhoods and this is our Earth; and it is our obligation to work together to help support our communities. Alvarino Klein Design Production Systems Team and other brands also take ownership of our Corporate Social Responsibility efforts by creating consumer centric programs for adults. These programs enhance brand sponsorships and through our work with wholesalers, we reach consumers with impactful messages at the point of purchase and at a variety of beer-drinking occasions, including sports games, concerts, exhibitions and other events.

Alvarino Klein Design Production Systems Team is an effort on the part of Miguel Alvarino and Nick Klein to disseminate high art at low cost to the masses. Through painting, performance, sound, and community leadership the group hopes to foster a dialogue amongst fans of culture at large about the place they hold in its broad context. Alvarino Klein Design Production Team Systems is Brooklyn based, with a strong longing for the tropicapitalist structure of southern Florida regions such as West Palm Beach and Miami.”
-Alvarino Klein Design Production Systems Team

Opening hours: Sun. Jan 19, Sat Jan 25, Sun Jan 26, 2014. 10 AM – 6 PM.