Gallery Jones is pleased to be participating in the third edition of the Seattle Art Fair, opening the evening of Thursday, August 3 and continuing through Sunday, August 6. We will be featuring work by Canadian and international artists, including Peter Aspell, Cole Morgan, Paul Morstad and James Nizam. To view the works below and more visit us at stall A-3.
For more information about the fair, please visit seattleartfair.com.
Opening reception: The Flats Block Party, Saturday, July 15, 2 – 4 p.m.
Exhibition dates: July 15 – August 19, 2017
Gallery Jones presents Flat-ish, an exhibition of new works by Erin O’Keefe, Fei Disbrow, and Vishal Marapon in conjunction with the Fifth Annual Flats Block Party.
Three artists meet at an intersection in Flat-ish, where dimension, perception, and distinctions between media are called into question. In fact, it is the value of making distinctions that is under scrutiny in this exhibition as each artist prioritizes aesthetics and the essentials of colour and composition over the intrinsic qualities of the medium, whether it be a painted surface, photographic image, sculpture or collage.
New York- and New Brunswick-based artist Erin O’Keefe exposes the transformative effects of photography in her work, where small table-top constructions of mixed materials (using everything from tinted plexiglass to painted sticks and paper) are redefined in two-dimensions through photography. Informed by O’Keefe’s training as an architect, these images distort perceptions of real and imagined space in playful and profound ways.
New works by Vancouver-based artists Fei Disbrow and Vishal Marapon similarly push boundaries between mediums: photographs capture the depth, texture and colour of Disbrow’s mixed paper collages and Marapon’s bright urban landscapes while simultaneously flattening space.
We enter an age where the vast potentiality of contemporary photography is being continuously provoked, stretched, and rethought. In Flat-ish, three distinct artistic voices converge at the level of the photograph, where figure, shape and colour exist with equal emphasis.
Click here to download press release.
Erin O’Keefe’s exhibition Book of Days at Denny Gallery in New York City was recently reviewed by Artforum.
Click here to read the review by Jeff Gibson.
Book of Days exhibited new photographs by Erin O’Keefe between April 6th to May 14th, 2017. This was the artist’s second solo exhibition with the gallery.
Pierre Coupey is one of several artists on display at the Kelowna Art Gallery as part of The Big Picture, a group exhibition curated by Liz Wylie that runs from April 29 to June 25, 2017.
The Big Picture brings together a selection of large-scale artworks from the gallery’s permanent collection, some of which have never been exhibited. As curator, Wylie expresses interest in the way artists “rise to the occasion” when they decide to work on a large scale. The show has a distinctly local feel: nearly half its artists are from the Okanagan, and the rest are from around the country.
The exhibition includes works by David Alexander, Rose Braun, Pierre Coupey, Cathy Daley, Jane Everett, Wendy Hamlin, Wanda Koop, Vicky Marshall, Martin Pierce, Gary Pearson, Bryan Ryley, and Alan Wood.
Click here for more information.
Opening reception: Saturday, June 8, 2 – 4 p.m
Exhibition dates: June 8 – July 8, 2017
Gallery Jones is pleased to present work by Otto Rogers, one of Canada’s most celebrated senior abstract painters, in a solo exhibition, Recent Paintings, from June 8- July 8, 2017.
Rogers’ work takes its origins in the abstract painting movement of the 1960’s and ‘70’s in Saskatchewan, during which time Rogers (with artists like William Perehudoff and Eli Bornstein) explored the visual correlations between the prairie landscape and abstracted forms. Out of the artistic nucleus of the Emma Lake Artists’ Workshops in northern Saskatchewan, Rogers emerged as a nationally recognized painter in the 1970’s, exhibiting in Toronto, Montréal, Paris and Milan. For nearly thirty years between 1959 and 1988, he taught art at the University of Saskatoon, mentoring artists including Douglas Bentham, Robert Christie, and Jonathan Forrest. Since then, extended periods of time living abroad and in isolated Canadian communities somewhat limited Rogers’ public profile, but continued to cultivate his individual style.
Through a muted palette, Rogers’ paintings present the viewer with shapes and textures that hint at empirical content while whispering about the creative sensibility behind each work. In this way, his paintings are able to achieve the non-referential character of North American modernist artworks, while departing from the strictness of the Greenbergian aesthetic that demanded absence of representation.
We use the word “modernist” in relation to Rogers with some caution. His work demonstrates strong Cubist influences, producing pictorial flatness through collage and the stacking of planes. Within this restriction, he expertly achieves a sense of spatial harmony without the stabilizing effects of figure and ground. And though Rogers developed and refined his style in close relation to the Abstract Expressionists, his work is imbued with a distinct sense of utopian idealism that moves past pure expressionism into the realm of the spiritual.
Rogers’ works can certainly be read in relation to the prairie landscape, but their broad interpretive potential points further and deeper into an area we may tentatively call “the self”. Rogers’ outlook on art-making is one of deep spiritual significance: he describes the process of artistic expression as “devotion” or “supplication.” Highly influenced by the teachings of the Baha’i faith, Rogers’ regard for artistic expression can be best described in his own words:
All art, by any definition, gives expression to the human condition; thus the high purpose of art is to elevate that condition and bring it into harmony with an all-loving Creator.
– Otto Donald Rogers, 2007
Rogers’ spiritual perspective is manifest in the explorative quality of his abstract works: in them, the conscience is not only examined but excavated in pursuit of expressive truth. The paintings do not intend to depict a landscape or a still life scene, but within the parameters of a frame and the mediums used, they strive for transcendence through the elemental relationships of form, colour and light.
Brendan Lee Satish Tang has been mentioned in recent press as a finalist for the Spanish fashion house Leowe’s inaugural Craft Prize, an award recognizing expert craftmanship from around the world. Tang’s work, along with the other finalists, is currently on display at New York Chamber gallery.
Click here for the article in Architectural Digest
Click here for the article in Co. Design
Click here for the article in Vogue Magazine
Click here for the article in Wallpaper online magazine.
Click here to read a recent Q&A with artist Erin O’Keefe on the influence of her background in architecture, her desire to investigate things “as they are,” and her interest in the visual illusions created with light and shadow in her work, written by Taylor Dafoe.
Several of Danny Singer’s works are currently on display at the National Gallery of Victoria, Melbourne, as part of the NGV Festival of Photography. The exhibition includes some of the most challenging and exciting contemporary photography from Australia and around the world, including Elad Lassry, Sophie Calle, Paola Pivi, Pieter Hugo, Danny Singer, Ceal Floyer, Lucia Koch, David Rosetzky, Polly Borland, Adam Fuss and Thomas Demand.
The National Gallery of Victoria (NGV) is the oldest and most visited gallery in Australia, hosting a wide range of activities, from contemporary art to major international historic exhibitions, fashion and design, architecture, sound and dance.
Work by Brendan Tang is featured in an upcoming exhibition Ready Player Two (May 25-September 3, 2017) at The Reach Gallery Museum in Abbotford, BC. The exhibition presents collaborative and independent works by Brendan Tang alongside interdisciplinary artist Sonny Assu, combining elements from science fiction, comic book, and gaming cultures to consider how the forms alternately reinforce and transcend racial boundaries in youth culture.
The Reach Gallery Museum describes the artistic interplay between the two artists in Ready Player Two as they address the activities of adolescence:
“In their individual practices, Tang and Assu frequently negotiate the material and conceptual dynamics of culture and ethnicity. Informed by their mixed-race backgrounds and experiences of Canadian life in the 1980s and 1990s, for this exhibition the artists bring together found objects, selections from previous bodies of work, and new collaborative pieces to create immersive spaces that evoke the adolescent sanctuaries of their time: the basement, the arcade, and the comic book store.”
Opening reception: Saturday, May 6, 2 – 4 p.m
Artist in Attendance
Exhibition dates: May 4 – June 3, 2017
Living in the Complexity of an Effort* presents the acclaimed Vancouver-based painter Ross Penhall in an exhibition of selected new works. The large-scale paintings describe the West Coast landscapes of British Columbia and California with the blues, yellows, browns and greens that make the artist’s style so recognizable.
In the works, shadows play at the edge of light– illuminating trees, fields, and mountains in a checkerboard fashion. The paintings throw colour over the landscape like a quilt, softening its edges and smoothing out detail. Penhall calls these images a “reminiscence of what you see,” seemingly perceptual memories of passing glances.
Penhall’s works, and the incredible attention they receive, enter into dialogue with Canada’s long tradition of landscape painting. His view presents a curious dilemma: nature is ordered and sculpted, yet devoid of human presence. These landscapes, softened to near abstraction, exist somewhere between the once-wildly primitive West Coast and our urban reality: a nod to humanity’s ever-changing relationship to the natural environment.
*quote from Janna Malamud Smith’s book An Absorbing Errand