Thank you to Supersonic Art for posting a preview of “JUXTAPOZED” at the Fort Wayne Museum of Art. The exhibition opens April 21st alongside Robert William’s ‘SLANG! Aesthetics‘. To view Supersonic’s favorite pieces from the show hop on over to their site. You can view the full preview of the exhibition now on Thinkspace Gallery’s website.
It’s like art world inception as Juxtapoz Magazine posted a preview of the upcoming “JUXTAPOZED” exhibition at the Fort Wayne Museum of Art. The exhibition is inspired by the New Contemporary Art movement and its influence on Juxtapoz magazine. The exhibition opens April 22nd in conjunction with Robert Williams’ “SLANG Aesthetics!”, to view more information on the show visit Thinkspace Gallery’s website.
Juxtapozed, a show title drawn from the magazine of the same name in the imperative tense, celebrates the legacy made possible by Juxtapoz Magazine. The access the publication has facilitated since the early “90s to a widely cast variety of media and expressions has shaped the movement itself and preserved its continued relevance.
Thank you to Arrested Motion for posting a preview of the upcoming “Juxtapozed” exhibition opening this weekend at the Fort Wayne Museum of Art. Arrested Motion shared several of their favorite pieces from the show in anticipation of the opening April 21st. Juxtapozed celebrates Juxtapoz Magazine’s impact on this genre is curated by Andrew Hosner of Thinkspace Gallery, Gary Pressman of Copro Gallery, and Adjunct Curator of the museum, Josef Zimmerman.
Robert William’s Slang Aesthetics is set to open at the Fort Wayne Museum of Art next week on April 22nd. In anticipation of the exhibition, Juxtapoz Magazine has an excellent feature on William’s discussing a few of the pieces that will be on view. Jump over to juxtapoz.com for the full article.
Purple as an Inexplicable Poetic Force
Robert Williams: It is not my intention to take every color in the color wheel and extol metaphysical significance to each hue. Nor is it justifiable to invoke the laws of physics with regards to scientific observations of the prismatic spectrum. However, colors do have personalities.
Thinkspace Family member, Michael Reeder executed a new mural in Marina Del Rey on the side of our favorite frame shop in Los Angeles, the Sherman Gallery. The mural was produced by Thinkspace Gallery with special thanks to Graphaid for the hook up on supplies. To view more work by Michael Reed visit the Thinkspace Gallery website.
We’re beyond excited to announce Dalek is coming to Thinkspace Gallery this December. We will be hosting the return of the Space Monkey in celebration of his 20th anniversary. Thinkspace is honored to welcome James Marshall aka Dalek to our gallery for what promises to be a landmark exhibition. An exhibition that is not to be missed! This December we will be showcasing an array of newly created Space Monkey works alongside classics from his archives. PLUS never before shared early works on paper + new screen printed editions & more. Hot damn. I can’t express my excitement about this show properly in words. I’ve known this man for two decades and this is a dream come true. The Space Monkey is back!
This December we will be showcasing an array of newly created Space Monkey works alongside classics from his archives. PLUS never before shared early works on paper, new screen printed editions, and more. We can’t express our excitement about this show properly in words. In the words of our curator Andrew Hosner, “I’ve known this man for two decades and this is a dream come true. The Space Monkey is back!”
April 29 – May 20, 2017
Concurrently on view in Thinkspace’s project room are new works by Brian Mashburn in Axiom. Based in Asheville North Carolina, Mashburn creates phenomenally detailed oil paintings of foggy landscapes, in which remnants of the natural world exist uneasily alongside evidence of its all but complete industrialization.
Dark and brooding, the stylized moodiness of Mashburn’s work is inspired by the foggy mountains of Appalachia and the heavy, opaque smogs that descend upon Hong Kong and parts of Southeastern China. Like a tangible veil, the gray film is itself a dark harbinger of the destructive forces of industry. Mashburn’s landscapes are indistinct and seemingly sooty vistas, where spires of human architectures and crags of rocky mountains carve out its backgrounds. Darkly and otherworldly, they share similarities with the tradition of 19th-century gothic landscape and its championing of all things eerie, though they feel distinctly contemporary and surreal in their free mixing of historical and cultural references, architectures, and animals.
Mashburn depicts hyper-realistically rendered wildlife in his foregrounds, often posited in stark contrast to the vaporous looseness of the distances. Whether an owl, buffalo, dog, or elephant, the individual isolation of the creature, its contextual disjointedness, and abrupt displacement, when found in the midst of this caliginous world, is jarring and ominous, particularly when set against the traces of human development which are all too apparent in the beyond. These paintings read as narrative fragments, suggesting a larger story beyond the frame – alluded to but never fully disclosed. Vaguely post-apocalyptic, and beautifully thick with foreboding, they show both the vulnerability and resilience of the natural world in spite of human intervention and “progress.”