Artist Talks with Brooks Salzwedel and Seth Armstrong Sunday December 16th at Lancaster MOAH

Join The New Vanguard II featured artists Brooks Salzwedel and Seth Armstrong this weekend, Sunday, December 16th for talks with these at Lancaster MOAH.

Brooks Salzwedel’s artist talk will take place at 1 pm followed by Seth Armstrong’s talk at 2 pm. The New Vanguard II will be on view until December 30th and this is a great opportunity to view the exhibition and learn about the works of these talented artists.

Brooks Salzwedel 

Born in Long Beach, Salzwedel creates translucent landscapes that shift in and out of solid and ethereal states. Like fluid worlds suspended in a cycle of perpetual haunting, the imagery often feels loosely real but undeniably hallucinated and invoked. His works play with the depiction of these unhinged natural and hyperbolically unnatural physical states, combining sparse terrains with fictional mountain ranges and shadowy, diaphanous atmospheres. His mixed-media drawing-based works are created using a combination of graphite, mylar and resin, tape, colored pencil, and ink.

Seth Armstrong 

Los Angeles-based painter Seth Armstrong creates paintings that seize time, near-cinematic moments of suspended or implied action. Some offer vast views, and others contracted intimacy, moving freely in and out of public and private spaces to create ambiguous vantage points. Known for paintings that self-consciously capture the act of looking – whether as a voyeur in trespass or a participant in the landscape – Armstrong captures the simultaneity of the city as a place of endless, contingent narratives, jarring interruptions, and suspenseful pauses.

In Lil’ Baja’s Last Ride, Armstrong combines his patented interest in the grittier recesses of urban life with his penchant for humor and a good inside joke, dedicating the exhibition’s title to his recently retired car, the unsuspecting casualty of a freak fire in the MOAH’s parking lot.

Exhibition on view October 20 through December 30 at:
Lancaster Museum of Art and History
665 W. Lancaster Blvd.
Lancaster, California 93534
www.LancasterMOAH.org

BOOK Signing + PRINT Release this Saturday from SCOTT LISTFIELD

ASTRONAUT
Paintings by Scott Listfield

BOOK-SIGNING EVENT this Saturday, December 15 from 4 to 6 PM

Book will be available at the event this Saturday for $45 plus tax

Scott will be on site from 4 to 6 PM signing copies of his new book (while supplies last) published by Paragon Books and Spoke Art. ‘ASTRONAUT’ is 232 pages packed full of every painting Listfield has created to date, over 350 of them, featuring his trademark lone astronaut exploring a not too distant future, filled with pop culture references galore. Featuring essays from Listfield along with Forwards from Danielle Krysa (The Jealous Curator) and Andrew Hosner (Thinkspace Projects).

PLUS we’re excited to publish a new limited edition fine art print of his iconic “It’s Like That” painting from our recent solo exhibition ‘1984’ with Listfield. Details are below.

Both the print and book will be available this Saturday from 4 to 6 PM at Thinkspace.

SCOTT LISTFIELD
It’s Like That
16×23 inches / 50.8x66cm
Edition of 60
Fine art print on 290gsm paper
Hand signed and numbered by the artist
$75

Printed by the good folks at Static Medium

AVAILABLE ONLINE IN EARLY JANUARY 2019
Details to follow. We are not shipping before the holidays, so we will set a day and time for the second week of January and share details soon. For now, this Saturday from 4 to 6 PM is your only chance to purchase this special edition from Listfield. No online or phone orders at this time. Thank you.

DANIEL BILODEAU’S “STATE OF THE ART” OPENING JANUARY 2019

DANIEL BILODEAU
STATE OF THE ART
January 5 – January 26, 2019

Concurrently on view in the Thinkspace project room are new works by Canadian, New York-based artist Daniel Bilodeau in State of the Art. Bilodeau’s paintings explore the symbolic fracture and disarticulation of the individual through the literal reorganization of the figurative subject. As a way of exploring the postmodern, free-appropriation of visual culture in an age of ubiquitously shared, albeit contextually impoverished, digital information, Bilodeau visualizes a subject literally spliced, divided, and simultaneously circumscribed by competing articulations of history, subjectivity, and identity.

Bilodeau’s paintings and mixed media works borrow freely from art history, observation, subject portraiture, and personal association. He references everything from Seventeenth-Century Dutch still-life painting to Sixteenth-Century Italian Mannerist Agnolo di Cosimo, known more famously by the epithet Bronzino, and Nineteenth-Century French Neoclassicist Jean Auguste Dominique Ingres, among others. His subject is assembled through a revisionist appropriation of images, the collage of cultural debris, and an anachronistic sampling of sources drawn from past and present to produce a strangely exciting, ahistorical subject. Unhinged by the specificity of a singular or unified conception of identity, time, or space, Bilodeau’s portraits reverberate in uncomfortable and factious simultaneities, as though competing apparitional forces are visually ricocheting across spatial registers.

Combining abstract and realistic handlings of paint within any single given work, Bilodeau creates a dynamic and mutably elastic impression of portraiture, surreal in its freedom from the restraints of plausibility and time.

STEPHANIE BUER’S “WILD ABANDON” OPENING JANUARY 2019

STEPHANIE BUER
WILD ABANDON
JAN 5 – JAN 26, 2019

Thinkspace is pleased to present new works by Portland-based artist Stephanie Buer in Wild Abandon. Known for her poignant, photorealistic paintings in oil, and charcoal works on paper, Buer captures the abandoned recesses of the city, finding unexpected richness in its desolation and quietude in its abrupt vacancies. This ongoing body of work, first inspired by Buer’s time spent in Detroit, Michigan, exploring the hidden corners of the city and the fallow architectural remains left by the imploded American auto industry, has since evolved into a poetic series of documentary memorials, capturing moments in the derelict lifespan of the city’s castaway structures. Buer offers glimpses of time arrested, through the abeyance of abandoned buildings and the meditative calm of their imposing discontinuity, a barrenness that seems surreal by contrast to the excessively populated pace of the world we inhabit. Without human subjects, Buer places the symbolic burden of this absence upon that which remains in view: the physical vestiges of abandonment.

The invasive quality of quiet that shapes Buer’s contemplative works is unique; they are arresting in that they abruptly apprehend the passage of time. Her paintings still a moment in the temporal lifespan of these abandoned structures, some in more advanced states of deterioration than others. They exist on the outskirts of time and space, divested of use and function. By capturing the relics of urban development exhausted or gone wrong, her works reveal a fascination with the cyclical life of these structures, and their fate once returned to the lawlessness of margins. Overcome by nature, vandals, entropy, and the socially peripheral, a quiet haunting consumes these buildings with the spectral implication of loss and extinction their desertedness implies.

There is, however, redemptive peace and beauty found amongst Buer’s contemporary ruins; in the eventual reappearance of nature where once it was cleared and in the continuity of a kind of rebel growth in spite of ultimate desertion or human intent. Mysterious in the anarchic freedom their marginal existences imply, these spaces represent a kind of exemption from the restraint of the colonized city. Something elastic and free, while simultaneously vulnerable and uncertain, makes the condemned structure strangely more akin to human life. An evocative moodiness persists in Buer’s poetic compositional choices, her immersive attention to detail, and her emotive capture of time and place. The works are lovingly, and even painfully, precise in their lush detail and arrested stillness.

Buer combines the representational clarity and control of photorealism with the subtly perceptual handling of her medium. Her impressionistic treatment of light is imperceptible, but produces dramatic contrasts, while the immersive level of detail she realizes is staggering. These color-saturated paintings and dark monochromatic works on paper are labor-intensive documentations that seamlessly combine observational realism with extremely subtle, affect-driven stylization. Buer’s attention to the rendering of minutiae and texture make entry into the scenes she proposes physically palpable and intimately close. We’re left with the strange impression of having entered a world of slightly offset metaphysical registers, with structures that exist somehow ambiguously ‘elsewhere.’ Everything unassuming in the absences Buer captures feels somehow significant and revelatory.

New Vanguard II Artist Sandra Chevrier Featured on CBC Arts

Sandra Chevrier, whose latest body of work is on view at the Lancaster Museum of Art and History, was interviewed for a segment on the CBC this past summer. You can visit the CBC website for a short video on Chevrier and a look at this talented artist.

Chevrier’s solo exhibition “Cages and the Allure of Freedom” is on view now through December 30th at the Lancaster MOAH.