We wanted to give props to long-time Thinkspace Family artists Brett Amory on his upcoming exhibition at the deYoung Museum. Amory is the museums January artist-in-residence, his work will be on view January 4, 2017 – January 29, 201 with an artist reception on Saturday, January 28 from 3–5 pm.
We want to congratulate Brett Amory on his current exhibition American Monologue at the Ft. Wayne Museum of Art. Amory has shown with Thinkspace Gallery over the years with solo exhibitions, a notable installation at 20 Years Under the Influence of Juxtapoz, and a current work in NEXUS showing at the Brand Library & Art Center. For all those interested in viewing the work from American Monologue, please contact Thinkspace Gallery for a PDF copy.
Visit Juxtapoz.com for a full write-up on Amory’s latest exhibition at the Ft. Wayne museum of art.
“Amory’s new work is based on the people and places of Fort Wayne, and is accompanied by a large installation that challenges what it means to be an “All-American City” and the concept of the American Dream. The installation will be constructed here during the month of November, allowing the public to watch Amory work.” – Juxtapoz
The Fort Wayne Museum of Art will host Invisible College, a group exhibition co-curated by Andrew and Shawn Hosner of Los Angeles’ Thinkspace Gallery, and Josef Zimmerman of the Fort Wayne Museum of Art. Opening July 11th and on view until September 27th, the exhibition will feature new and representative works by 46 artists belonging to the New Contemporary movement. Dedicated to the energy and strength of its growing visibility and recognition, Invisible College explores the aesthetics of a movement that has devised its own course; one that has been largely defined outside of institutional contexts.
Here is a taste of the artists heading to Indiana and their works in progress or detail shot of work.
Brett Amory Installation
Ravi Zupa’s Sculpture
Finished Work by David Cooley
Co-curated by Thinkspace & Josef Zimmerman
Taking place at:
Fort Wayne Museum of Art
311 E Main Street
Fort Wayne, IN 46802 www.fwmoa.org
Opening Reception: Saturday, July 11th 7-10PM
*Musical performances at 9PM from Lost Lakes and Heaven’s Gateway Drugs
$7 admission / $5 for members
Exhibition runs July 11th – September 27th, 2015
Featuring site-specific murals and installations from:
Andrew Schoultz / Brett Amory / Cyrcle / Mark Dean Veca / Troy Lovegates
Alongside a group show featuring the work of 42 international artists.
San Francisco-based artist Brett Amory’s first book is now available and published by Vivant Books. Featuring his “Waiting” series, this coffee table book contains four color reproductions of Brett’s artwork, biography, and selected essays from art world luminaries and patrons. Thinkspace owner Andrew Hosner proudly contributed to this exciting publication with an essay on Brett’s work. A gorgeous addition to any art book collection, Brett Amory can be published on Vivant Books website now.
Juxtapoz recently caught up with Bay Area artist Brett Amory as he laid the final touches to his new oil paintings for ‘Dirty Laundry’ set to open this Sat, August 4th at Thinkspace in the Culver City Arts District.
A quote that has stuck with you? “Talent, don’t bother about wether or not you have it. Just assume that you do, and forget about it. Talent is a word we use after someone has become accomplished.” -Richard Schmid
Thinkspace is pleased to present Dirty Laundry, an exhibition of new work by painters Brett Amory and Adam Caldwell. Amory and Caldwell each mobilize their unique representational strategies to invoke the modern day disconnect between time and space, self and other, and present and past. Amory’s atmospheric preoccupation with memory, the moment, and nostalgia, is dynamically in contrast to Caldwell’s abrupt composites and recombinations of imagery, from sources spanning mass media to antiquity. Both artists approach their medium as a means of problematizing temporal identity, and the social experience, by exposing the nitty gritty polarities and paradigm shifts of an increasingly fractured reality of the self.
Brett Amory’s new body of work is a continuation of the artist’s acclaimed series Waiting, a series in which the artist captured his subjects in varying states of suspension and anticipation: waiting for the completion of an unseen event and caught in the standstill of a moment. Amory’s work relies on photographic media as a means of capturing and documenting the every day subject matter with which he is concerned. He translates these photographic observations into paintings which seek to capture the immediacy of the moment.
The artist uses photography as the primary point of departure in his process, and uses it as a social tool of observation to capture the world around him. He reduces these images to their most striking and elemental parts compositionally, and attempts to convey the fleeting quality of these moments through a painterly and impressionistic treatment of the photograph. This new body of work, however, conveys a sense of spontaneity and immediacy new to the artist’s practice. In Amory’s earlier work, the preparatory process was deliberately staged and set in order to conform to the artist’s predetermined narrative and aesthetic vision for the painting. Now that the photograph has become an increasingly mobile and socially voyeuristic tool, with new applications such as instagram on the mobile phone, the moment seems less mediated by the staging of process. Amory is free to capture actual moments in the lives of others in passing with this technology, spontaneously, and organically. This technological filter functions as a conduit for the experiences the artist invokes in paint.
The end result is a body of imagery that authentically captures the artist’s real time observation of his subjects, and their daily experiences and encounters. Brett Amory strives to convey his observation of the world around him through work that invokes its passing and transience. The daily routine of the artist’s life, and his observation of the life of others, is central to his process. The work captures a human point of exchange in the creation and inception of the image.
Adam Caldwell’s background is variegated, a multiplicity clearly evidenced in the artist’s work. The artist’s interest in comics, and ultimately narrative based graphic media, coupled by a highly developed technical acuity for figuration and spatial construction, results in a distinctly unique and recognizable style of painting: a style that is deeply imbricated in, but ultimately subversive of, the communicative shorthands of a variety of visual media. The artist is deftly able to invoke not only the formal properties of those languages, but the affective tone and mood of them as well. Caldwell’s work is informed by an observation and collusive synthesis of these visual media and their corresponding affects. The work presents a patchwork of visual multiplicities and polarized sensibilities. The surfaces are fraught, and frenetic, recombinations of the contemporary experience as observed by Caldwell: an experience in which the self is split and colonized by a competing network of forces.
Formally the work speaks to this freneticism and fracture, combining a collage of styles and influences spanning everything from illustration, photorealism, and classical figuration, to the bombast of advertising and consumer culture media. The artist combines pop cultural imagery with post-apocalyptic images of destruction, and suggestions of advertising with images of warfare. Distinctly dystopian, the self is untenably situated in the midst of these rupturing forces as a complex and fractured entity. The “self” in Adam Caldwell’s work is subject to the ravages of an age where pop culture and mass destruction seem oddly at home together in the same image. Caldwell conveys the paradoxical nature of the contemporary psyche: a terrain of unreconciled impulses, libidinal urges, and conflicting imaginaries.
Caldwell’s imagery is complex – a sort of social architectonics. Meaning becomes a process, self- consciously crafted by the associative juxtapositions laid out for us by the artist. A common thread in this work is its intentional ambivalence and recombination, the viewer is left feeling the pull of unreconciled subjects and themes, and is unable to reductively ascribe a singular meaning to them. Aesthetically seductive and visceral, and consummately executed, the paintings are captivating and unrelenting. We are caught in their grasps and actively participate in their meaning.
Nocturne features new work by Scottish artist Paul Barnes. This body of work is whimsical, and delights in the suggestion of the fantastic and the surreal. The childlike creatures from Barnes‘ Nocturne seem to exist in a fugue state, dreamy and veiled, dissociated and wandering. Just as the exhibition’s title suggests, Barnes’ work is shrouded in this twilight haze of the outré, and the sleepy otherworldliness of the dream state. These pieces are glimpses into a limitless fantasy of legend, dream, and play.
Much in keeping with the symbolist tradition, but reinvigorated by a contemporary illustrative aesthetic, the work is symbolically suggestive and resists literal meanings. The dream state’s associative work is evident in the host of characters the pieces present, ranging from trees with eyes to owl like creatures emerging from darkly recesses. An innocence and calm pervades Barnes’ work. The strange comes from the quiet of sleep rather than from the violence of the sinister. The Nocturne’s realm is quiet calm. Associative, strange, and beyond waking cognition, this world is a fog of poetic play; a “dreamed” imaginary of creatures, and scenarios, entirely of the artist’s imagining. An unfettered childlike delight emerges from these scenes.
From a world of extended metaphor and gentle strangeness, Barnes captures our imaginations and depletes our adult resistance to fantastical possibility. The artist’s work is informed by the legend and magic of folklore; an influence apparent in this childlike imaginary of gentle, foggy, creatures in half waking dream states.
Sean Mahan is a social realist figurative painter who works with graphite and acrylic washes on wood to depict a sense of wonder about innate human sweetness.
Sean has enjoyed creating cover artwork for the bands: Twelve Hour Turn, Floor, Daitro, Dauntless Elite, Jets vs. Sharks, Planes Mistaken For Stars, Beat Buttons, North Lincoln, Fires, Del Cielo, The Gifthorse, Mouthbreather, Senders, Little League, Back Pocket, Small Talk, Solid Pony, Laura Minor, Verde, Kids on Bikes, and more.
Absolut has finally launched the ‘Blank‘ project. The vodka brand from Sweden has a long history of supporting contemporary art and we’re honored to have them recognize some of our family members in this new series of artist bottles getting ready to hit shelves. Thinkspace family members include David Bray (debut U.S. solo show now on view), Fernando Chamarelli (showing next month) and Brett Amory (showing again next summer). Other artists who participated include Dave Kinsey, Sam Flores, Thomas Doyle, Aesthetic Apparatus, and Jeremy Fish.
Many of the artists created more than one ‘Blank‘ and the videos below show a glimpse into the creative process behind each as well as a look at the worldwide campaign currently unfolding around this new series of bottles. This campaign has been in the works for ages and I’ve been busting at the seams to share with everyone.
Take a look at the artists at work on their Absolut ‘Blanks‘ in the below video
AND take a look at some of the promotional festivities going off currently around the world to help support this new campaign… Just huge for all the featured artists involved in this campaign.